New ‘Duct Tape DIY Book’ is Taking Crafting and Fashion World by Storm

June 8, 2016 The Silo Leave a comment

From the author of the #1 best-sellers, Tape It & Make It, Tape It & Make More and Tape It & Wear It comes the fourth book in this revolutionary “duct tape craft series:” Duct Tape Bags: 40 Projects for Totes, Clutches, Messenger Bags, and Bowlers (Clarkson Potter, July 2016). With the upcoming release of her new book, Richela Fabian Morgan is continuing to take the crafting and fashion world by storm, turning the humble roll of duct tape into the trendiest craft item since glitter glue.

Everyone from trendy teens to famous fashionistas can begin exploring the infinite uses this easy-to-follow guide provides to making handbags so fashionable, you won’t actually believe they’re made of duct-tape. Part art-piece, part usable accessory, Fabian Morgan shows how each of these gorgeous handbags can be recreated one manageable section at a time.

“About eight years ago, my kids and I were in our local hardware store when we spotted duct tape with patterns and colors,” says Fabian Morgan. “Since then, duct tape has been an obsession of mine. My daughter and her friends were my excuse to break out my vast collection of tape and try out different ideas for craft projects. Out of all the projects, the bags were the biggest hit! I started making bags for myself. So, it was only natural that I turned my attention to writing a book on duct tape bags. I wrote other books on duct tape crafts with a total of 242 projects spread out over three books, everything from housewares to costumes. Duct tape bags were on my radar. I had to write this book!”

Duct Tape Bags provides DIYers with 40 fun projects using duct tape, including:

Clutches and wristlets
Hobo and Shoulder Bags
Satchels
Messenger and Flap Bags
Tote Bags
And tons of other one-of-a-kind bags!

One of Rachel's Duct Tape Bags. — One of Rachel’s Duct Tape Bags.

Read more about Richela Fabian Morgan by using the links at the bottom of this article and:

Reveal what inspired her to begin crafting with duct tape.
See finished samples of the many bags included in her book.
Do print or video demos and step by step how-tos not only on her bags but any of the 240+ projects found in her duct tape books.
Provide the perfect summer duct tape projects for girls, boys and teens.
Look ahead to back to school: duct tape wallets, folders, book bags, pencil cases, lunch boxes and more!
Find tips to incorporate recycled items in your duct tape projects.
And so much more!

With detailed step-by-step instructions and primers on duct tape “fabric,” different types of closures from magnet snaps to jeans buttons, and bag accessories like bows and luggage tags, Fabian Morgan catapults this trend from the streets into the stratosphere. A mix of pop art and urban style photos of each project and a cool vibe throughout will make you want to immediately roll up your sleeves and rolling out the duct tape for a bag of your own! For the Silo, Erin MacDonald-Birnbaum

About Richela Fabian Morgan: Richela Fabian Morgan began her duct tape odyssey 8 years ago with a simple bi-fold wallet, before writing the best-selling crafting books Tape It & Make It, Tape It & Make More, and Tape It & Wear It. She is an indie crafter specializing in paper, adhesives, and found materials, and has taught craft projects at elementary schools, public libraries, and charitable organizations around the U.S. Her next duct tape crafting book, Duct Tape Bags, will be published by Clarkson Potter in July 2016.

Connect with Richela on:
Facebook: www.facebook.com/CraftyRichela
Twitter: www.twitter.com/CraftyRichela
Pinterest: www.pinterest.com/craftyrichela
Instagram: @richelafm

Duct Tape Bags will be released July 12, 2016 and can be pre-ordered from Amazon.com and all major booksellers. Contact [email protected] for more details.

Earth

Circular Economy Is New Direction For Waste Free Ontario

June 3, 2016 The Silo Leave a comment

In late Spring 2016, Ontario passed legislation to divert more waste from landfills, create jobs, help fight climate change and lead towards a waste-free province. Currently, Ontario is producing too much waste, and not recycling enough. Over eight million tonnes of waste is sent to landfill each year. Absolute greenhouse gas emissions from Ontario’s waste have risen by 25 per cent between 1990 and 2012 as the amount of waste disposed in landfills has increased.

The Waste-Free Ontario Act will: encourage innovation in recycling processes and require producers to take full responsibility for their products and packaging, lower recycling costs and give consumers access to more convenient recycling options to help fight climate change by:

-reducing greenhouse gas pollution that results from the landfilling of products that could otherwise be recycled or composted
-overhaul Waste Diversion Ontario into the Resource Productivity and Recovery Authority, a strong oversight body with new compliance and enforcement powers that will oversee the new approach and existing waste diversion programs until transition is complete.

The province will also be finalizing its draft Strategy for a Waste-Free Ontario: Building the Circular Economy, within three months of the legislation coming into effect. The strategy outlines Ontario’s vision for a zero waste future and proposed plan to implement the legislation.
Harnessing the value of waste as a resource is part of the government’s economic plan to build Ontario up and deliver on its number-one priority to grow the economy and create jobs. The four-part plan includes investing in talent and skills, including helping more people get and create the jobs of the future by expanding access to high-quality college and university education. The plan is making the largest investment in public infrastructure in Ontario’s history and investing in a low-carbon economy driven by innovative, high-growth, export-oriented businesses. The plan is also helping working Ontarians achieve a more secure retirement.

QUOTES
“Ontario is moving in an exciting new direction for managing waste in the province. The Waste-Free Ontario Act is an important step in creating Ontario’s circular economy — a system in which products are never discarded, but reintroduced and reused or recycled into new products. Managing our resources more effectively will benefit Ontarians, our environment and economy and support our efforts to fight climate change.”
— Glen Murray, Minister of the Environment and Climate Change

QUICK FACTS
Every 1,000 tonnes of waste diverted from landfill generates seven full-time jobs, $360,000 in wages (paying above the provincial average) and $711,000 in GDP.
Every year in Canada, an estimated $1 billion in valuable resources is lost to landfill.
Eventually the Waste-Free Ontario Act will eliminate industry funding organizations such as the Ontario Tire Stewardship and Ontario Electronic Stewardship.
The Blue Box program is available in about 95 per cent of Ontario households and keeps approximately 65 per cent of residential printed paper and packaging from landfills.

LEARN MORE
Read about the draft Strategy for a Waste-Free Ontario: Building the Circular Economy
Learn more about Ontario’s current waste programs

BACKGROUNDER via Ministry of the Environment and Climate Change
The Waste-Free Ontario Act and Strategy
Ontario has passed the Waste-Free Ontario Act and will be finalizing the draft Strategy for a Waste-Free Ontario: Building the Circular Economy, within three months of the legislation coming into effect.
Together, the proposed legislation and strategy would:
-Foster innovation in product and packaging design that encourages businesses to design long-lasting, reusable and easily recyclable products
-Boost recycling across all sectors, especially in the industrial, commercial and institutional sectors, which will reduce waste and lower greenhouse gas emissions
-Incent companies to look for ways to make their recycling processes more economical while staying competitive
-Shift the costs of the blue box from municipal taxpayers to producers while continuing to provide convenient collection services for Ontarians.
-Develop an action plan to reduce the amount of organic materials going to landfills.

The draft Strategy embraces a vision of “an Ontario where we have zero waste and zero greenhouse gas emissions from the waste sector and where all resources, organic or non-organic, are used and reused productively, maximizing their recovery and reintegrating recovered materials back into the economy.”
Ontario’s vision would be fulfilled with the draft Strategy’s two goals: a zero waste Ontario and zero greenhouse gas emissions from the waste sector. To achieve these goals Ontario would work towards systematically avoiding and eliminating the volume of waste, while maximizing the conservation and recovery of resources. This would also help the province meet its climate change commitments and help Ontario build a low-carbon economy.
Disponible en Français

Vintage

First “Party Star”, Socialite Dorothy Taylor’s Beverly Hills Mansion For Sale

May 27, 2016 The Silo Leave a comment

“The Countess of Beverly Hills Mansions” Before Paris Hilton and Kim Kardashian, socialite Dorothy Taylor may have been the first Hollywood celebrity who wasn’t in the entertainment business. She was the ultimate party host and frequent 1930’s scandal rag fodder. Her lovers included Gary Cooper, Bugsy Siegel, George Raft and an Italian count.

Dorothy’s trip to celebrity fame began after she inherited $12 million in 1916, the equivalent of about $275 million today. The first thing she did with her money was divorce her British aviator husband, Claude Grahame-White, and embark on a long party in Europe’s best circles. In 1923, she married Italian Count Carlo Dentice di Frasso, many years her senior. On the outskirts of Rome, the new countess acquired and restored one of Europe’s most famous homes, Villa Madama, that had been designed in the sixteenth century by Raphael. It was later used by Benito Mussolini during World War II for National Fascist Party functions.

While residing in the villa, actor Gary Cooper was doing a movie in Rome and became quite ill. Dorothy took him in and during his recuperation began an intense affair with him under her husband’s nose. Since she and the count were at that point leading separate lives, Dorothy went on with the affair and moved to Hollywood where she purchased a mansion in Beverly Hills. Making friends of some of Hollywood’s most important stars through her Cooper connections, Dorothy called in the best decorators and landscapers and created a luxurious estate that was classic Art Deco filmdom glamour. Dorothy and Cooper eventually went their own ways but remained distant friends. She was always known as the woman who taught Gary Cooper how to dress, making him the most elegant man in Hollywood.

Through her new Hollywood friends, Dorothy eventually rented her mansion to Marlene Dietrich and headed off to search for sunken treasure on the studio-owned schooner, Metha Nelson; Captain Bligh’s ship in the 1935 movie “Mutiny on the Bounty.” Also on the ship was American gangster Bugsy Siegel. Although the trip turned into a disaster when the schooner was tossed violently by 70 mile-per-hour gale winds that split the main mast and destroyed the sails, it was the start of a new affair with Bugsy. She always rejected gossip of her association with Bugsy, instead referring to him as Benjamin to her friends.

In 1947, Dorothy sold the Beverly Hills house to MGM pianist Jose Iturbi, who lived there until he died in 1980. In 1954, Dorothy died of heart failure in a train compartment while she was traveling with George Raft from Las Vegas to Los Angeles after attending one of Dietrich’s performances.

Hand painted murals & mirrored verre églomisé panels.

Once again for sale, the beautifully preserved Spanish Revival estate hasn’t changed much since its heyday in the 1930s when it was featured in “House and Garden.” At approximately 8,000 square feet, it has four bedrooms and five baths on 1.12 acres. The home was built for entertaining with large public rooms and although it looks like wallpaper, the walls are covered in hand-painted murals. In the dining room, the walls are mirrored verre églomisé panels that depict towering palms. There is also a two-bedroom guest house and pool nestled within the mature landscaped grounds. The asking price is USD $26.9 million. Dimitri Velis of Hilton and Hyland in Beverly Hills is the listing agent. For the Silo, Terry Walsh.

Visit our friends at TopTenRealEstateDeals.com for more famous homes and real estate news.

Culture

International UFO Symposium Landing in Brantford, Ontario June 24-26

May 24, 2016 The Silo 2 Comments

As a young child living in rural Newfoundland on the outskirts of Grand Falls, Osie woke up screaming every night from her terrible UFO nightmares.

She believes she was abducted as a child – and is still being abducted today – by aliens, who have been doing medical procedures to her for her entire life.

At this summer’s Alien Cosmic Expo, June 24-26, in Brantford, Ontario, at Best Western Brant Park Inn- Osie will discuss how her life dramatically changed only a few years ago when she discovered she not only had psychic powers but how becoming a medium paved the way for her understanding what was happening to her during her nightmare.

Osie revealed her story for the first time as one of the Experiencers interviewed in Brantford author Bob Mitchell’s book, “What if? Close Encounters of the Unusual Kind.”

Interestingly, Josie never had any interest in UFOs or aliens until her nightmares returned in 2015 and she began having very vivid out of body experiences that led to horrific encounters with other worldly beings.

Initially, she never saw the beings although she could hear them telepathically and knew they were around her.

“I saw shadows, outlines and they’re above me,” she explained. “I know they were doing stuff to me because I was screaming.

“There was so much pain. I didn’t hear any sounds. All I know is that I didn’t want to be there. I felt as if I was passing out and coming to again.”

Osie will also be on hand at ACE for Friday’s Experiencer Day where ticket holders can wander and ask questions of several invited guests.

How many of you have ever seen a UFO or encountered an alien being and never had the courage to tell anybody about the incredible experience?

What if you’ve been abducted? Who do you talk to? Can you trust even your family or closest friend with your darkest secret?

You’re not alone.

Take a read of this excerpt from “Forbidden Knowledge-Revelations of a multi-dimensional time traveler” co-written by Experiencer Jason Quitt and Brantford author Bob Mitchell.

Jason often had a difficult time keeping these topics bottled inside of him. One night his father noticed he was distressed about something.

“Unable to hold it in anymore I burst out in tears and emotion,” Jason said.

Jason told him what had been happening to him and how he was able to have out of body experiences.

“I also told him about the beings,” Jason said. “He was stunned. He tried to calm me down. But he really didn’t say too much to me.”

But his father begged him to see a psychiatrist.

“I flatly refused and was actually quite hurt and insulted by this suggestion,” Jason said. “But looking back I see how from his perspective why he wanted this for me.”

A few days later Jason was back at his father’s house and was using his computer when he noticed his father had bookmarked many pages dealing with schizophrenia.

“I knew then that I couldn’t share these experiences again with people who didn’t have a solid background in this subject,” Jason said.

“It really made me think of how Experiencers are treated in this society. I can only imagine an Experiencer sharing their story with their parents and the next thing they know they’re on heavy medication and told something is wrong with them or that the devil is influencing them.”

Indeed, you’re not alone.

People throughout the world are struggling with this dilemma every moment of their lives.

But on Friday, June 24 at the opening day of the Alien Cosmic Expo in Brantford, Ontario you’ll be able to unburden yourself to people, who know exactly what you have and are continuing to go through.

Several Experiencers, including a few who will be telling their story on stage throughout the weekend will be participating in “Experiencer Day.”

It’s your chance to share your stories with them and ask the questions you have been seeking answers for in safe and comfortable surroundings without fear of being ridiculed or judged.

“When I read that passage from “Forbidden Knowledge” it really struck a nerve with me,” said Jo-Anne Eadie, organizer of the Alien Cosmic Expo. “I actually became very emotional. I understood what Experiencers must be going through.

“It’s why a feel so strongly that we need to able to talk about these events in a safe environment such as Experience Day.”

Confirmed Experiencers so far include Joanna L Ross, Sherry Wilde, Grant Cameron, Janet Lessin and Dr. Sasha Lessin, Barry Strohm, Osie, and Elizabeth April.

The cost for Friday’s “Experiencer Day” is $99 and includes a special Friday night dinner featuring Travis Walton, one of the most recognized abductees in the world. You’ll also watch a screening of his documentary “Travis: The True Story of Travis Walton” – a documentary by Onwinges Productions.

Walton is also expected to make an appearance during the day at the Experiencer event.

The cost for just attending Friday night’s dinner and show is $45.00 + tax

Barry Strohm

Barry Strohm has learned the history of humanity from a unique source – the spirit of an alien named Mou.

On Friday, June 25, Strohm will be among the Experiencers on hand for Experiencer Day as the Alien Cosmic Expo opens its weekend run in Brantford, Ontario.

As an author and channeler, Strohm had been communicating and receiving information from Mou and he will reveal what he has learned during his lecture on Sunday, June 26. His incredible experience is told in his book “Aliens Among Us,” which those attending ACE will also be able to purchase. In his book, Strohm takes readers on a journey that explores humanity’s past and present connection to other worldly species. Strohm, owner of Golden Lane Antique Gallery in New Oxford, Pa (one of the most haunted places in the U.S.) has discovered that aliens are able to communicate through psychic channeling and explain many of Earth’s mysteries, including what really happened at Roswell, Rendlesham Forest, Biblical alien references and how extraterrestrials have and continue to influence mankind. His wife Connie has also been abducted and the alien spirit connected to Barry has explained why and what happened during her encounter.

Strohm has also met a Reptilian. He is also known for making predictions about future events, Perhaps he will make some while at ACE.

——————————————————————————————————————————————–

This acclaimed 3 day event will be jam-packed with international researchers, authors and lecturers including Stanton Friedman, Richard Dolan, the Honorable Paul Hellyer, Grant Cameron and many more. To view the full line-up and to make note of all events please visit our friends at Alien Cosmic Expo.

Politics

Ontario Passes Landmark Climate Change Legislation

May 18, 2016 The Silo 1 Comment

Today, Ontario passed landmark climate change legislation that lays a foundation for the province to join the biggest carbon market in North America and ensures that the province is accountable for responsibly and transparently investing proceeds from the cap and trade program into actions that reduce greenhouse gas pollution, create jobs and help people and businesses shift to a low-carbon economy.

Under the Climate Change Mitigation and Low-Carbon Economy Act, money raised from Ontario’s cap and trade program will be deposited into a new Greenhouse Gas Reduction Account. The account will invest every dollar in green projects and initiatives that reduce emissions.

Following extensive consultation with industry and other groups, the legislation was strengthened by now requiring enhanced accountability and public reporting on the province’s upcoming Climate Change Action Plan and investment of cap and trade proceeds.

From J. Magnuson's Book on the approaching post-carbon economy. Link below. — From J. Magnuson’s Book on the approaching post-carbon economy. Link below.

Ontario will post its final cap and trade regulation upon royal assent of the legislation. The regulation covers detailed rules and obligations for businesses participating in the program. The final design was also informed by extensive consultation https://www.ontario.ca/page/cap-and-trade-consultations-summary with businesses, industry, the public, environmental organizations and Indigenous communities.

Climate change is not a distant threat – it is already costing the people of Ontario. It has damaged our environment, caused extreme weather like floods and droughts, and hurt our ability to grow food in some regions. Over the near term, climate change will increase the cost of food and insurance rates, harm wildlife and nature, and eventually make the world inhospitable for our children and grandchildren.

Fighting climate change while supporting growth, efficiency and productivity is part of the government’s economic plan to build Ontario up and deliver on its number-one priority to grow the economy and create jobs. The four-part plan includes investing in talent and skills, including helping more people get and create the jobs of the future by expanding access to high-quality college and university education. The plan is making the largest investment in public infrastructure in Ontario’s history and investing in a low-carbon economy driven by innovative, high-growth, export-oriented businesses. The plan is also helping working Ontarians achieve a more secure retirement.

QUOTES

“Passing the Climate Change Mitigation and Low-Carbon Economy Act marks the start of the next chapter in Ontario’s transformation to an innovative and prosperous low-carbon economy — one that will benefit households, businesses, industry and communities across the province. This legislation is about enshrining in law our resolve and action to protect and strengthen our environment for generations to come.”

— Glen Murray, Minister of the Environment and Climate Change

QUICK FACTS

§ Ontario’s Climate Change Action Plan is the next step in Ontario’s ongoing fight against climate change and is expected to be released in spring 2016. The plan will describe actions that will help more Ontario households and businesses to adopt low- and no-carbon energy in homes, vehicles and workplaces.

§ Ontario’s $325-million Green Investment Fund http://www.ontario.ca/greeninvestment , a down payment on the province’s cap and trade program, is already strengthening the economy, creating good jobs and driving innovation while fighting climate change — a strong signal of what Ontarians can expect from proceeds of the province’s cap and trade program. These investments will help secure a healthy, clean and prosperous low-carbon future and transform the way we live, move and work while ensuring strong, sustainable communities.

§ The Greenhouse Gas Reduction Account will receive proceeds from auctioning allowances under Ontario’s cap and trade program. The first auction will be held in March 2017.

§ Ontario intends to link its cap and trade program with Quebec and California.

LEARN MORE

Ontario’s Climate Change Strategy https://www.ontario.ca/page/climate-change-strategy

Learn How Cap and Trade Works https://www.ontario.ca/page/cap-and-trade

Green Investment Fund https://www.ontario.ca/page/green-investment-fund

Supplemental- Joel Magnuson’s Book- The Approaching Great Transformation: Toward a Livable Post-Carbon Economy

Reviews

Better Bungee™ Is Stronger Environmentally Safe For All Uses

May 10, 2016 The Silo Leave a comment

The Better Bungee is excited to officially launch into the US and CANADIAN market, available at GRAINGER and AMAZON, The Better Bungee, made in the USA of a new high tech material; that will not crack, break or become brittle and is virtually weightless, allowing The Better Bungee to safely stretch twice its original length but still retain its stretch. The Better Bungee is great for organizing the garage, hauling, storage and more! A great life hack for organizing, saving space in small rooms or uncluttering your garage.

US Made Bungee is Ultra-Lightweight, Stronger and More Versatile

The Better Bungee™ is the most durable, top-of-the-line tie downs to fit every application; cargo control, ATV, Camping / Outdoor adventures, Motor Cycles, Boating, water sports, to mention a few. The Better Bungee™ products are made to withstand extreme temperatures and weather conditions, are resistant to oil, diesel fuel, salt water and most household chemicals. Made in the USA of a new high tech material; that will not crack, break or become brittle and is virtually weightless, allowing The Better Bungee to safely stretch twice its original length but still retain its stretch. Available on Amazon.com, Gemplers.com, Imperial Supply and Grainger.com. The variety of straps, cords, ropes, lengths, colors and accessories make this product one of a kind.

Deb Dershem, President of The Better Bungee™ “We are excited to launch the Better Bungee into the US with a high-tech environmentally friendly material that is safer and stronger and lighter in weight. It is the BETTER option now on the market for any rubber or shock cord applications.”

The Better Bungee™ Product Offerings:

The Better Bungee™ heavy duty Strap is available with galvanized, stainless and over-molded nylon ends available in lengths of 12”, 18”, 24”, and 36”. This product stretches to twice its length. The super strong nylon ends are molded into the material to create a one-piece strap. The ends will not pull out and are super strong and non-marring.

The Better Bungee™ Cord is a medium duty one-piece cord with over-molded super strong non-marring ends and is available in lengths of 12”, 18”, 24”. This product stretches to twice its length.

The Synch™ Cord is medium duty; has a loop on one end and an over-molded super strong non-marring end on the other. It is available in 30” and is perfect for applications where 2 hooks just won’t work. It can make an anchor point easily by wrapping the cord around a bar or through a hole; then put the hook through the loop, pull tight then secure the hook end. It makes a superior storage organizer for cords, rope and hoses! Also great for holding things tight against a garage wall.

The Slotted Strap is versatile and heavy duty, will adjust from lengths of 12” to 36” and has either 2 over-molded super strong non-marring nylon ends or two galvanized hooks. It can be used as an all in one tie down or for storage and organization. This product is extremely versatile! When you can only have one this is for you!

The Better Bungee™, Build A Bungee™ kit comes with rope or strap. This is the answer to any custom bungee cord needs. Rope is available in 2 sizes: 1/4” or 5/16” and non-marring adjustable hook ends for building customized bungee cords. Add our super strong O-ring to create custom cargo.

Innovative- Better Bungee Rope and Strap Kit

The Better Bungee™ rope and strap is a great replacement for shock cord. It can be used to customize just about anything- tarp tie downs, shock cord on canoes, kayaks, covers for trucks, the uses are endless. The rope material is available in reels of 50 feet and in diameters of 5/16” and 1/4”. The strap material is 5/32 x 3/4″ and available in reels of 50 feet. Larger or smaller rolls are available in bulk packages.

About The Better Bungee™

Launched in 2016, The Better Bungee™ is the creator of superior bungees and tie down systems. They are the only company in the industry to use the Betterthane 8000™ to manufacture all of their products. Superior design and manufacturing practices allow us to sell our products at a price point that is economically feasible for all people. The versatility, environmentally friendly, safety and durability of this product are what set it apart from other bungee product lines. Available in the US and Canada. Contact [email protected] for ordering information.

Gaming

DreamHack Austin 2016 Featured ZOWIE Official eSports Monitors

May 9, 2016 The Silo Leave a comment

COSTA MESA, Calif. — May, 2016 — BenQ America Corp., a globally renowned LED and gaming monitor expert, recently announced that ZOWIE, the company’s eSports brand, would be the official monitor sponsor of DreamHack Austin 2016. Making its first-ever stop in North America as part of the DreamHack ZOWIE Open World Tour, the event took place May 6-8 at the Austin Convention Center. Pro gamers competed using the XL Series eSports monitors for all PC gaming tournaments. Additionally, ZOWIE extended its partnership to supply its RL eSports console monitors for the Capcom Pro Tour’s Street Fighter V and Pokkén Tournament matches.

The North American eSports market has seen phenomenal growth, attracting millions of gamers and online viewers. Committed to eSports, ZOWIE is pleased to partner with DreamHack to deliver the ultimate pro gaming experience with its XL and RL monitor lines.

“BenQ ZOWIE is created for eSports and only eSports. We believe that gaming is all about the experience, whether it’s PC or console eSports. Our relentless pursuit to provide the most professional experience drives us to craft eSports products, including the XL and RL monitors, that are based on a deep understanding of the sport and fine-tuned to meet the pros’ specific usage scenarios,” said Lars Yoder, president of BenQ America. “With our XL and RL monitors, professional players will have the high performance they expect for competition.”

ZOWIE EC2-eVo Gaming Mouse

DreamHack Austin 2016 attendees were able to test-drive the full range of ZOWIE products at booth 135. The complete ZOWIE lineup includes the XL and RL series monitors, SR and TF mousepads, as well as the EC, ZA, FK, and newly released FK1+ mice series. ZOWIE mice fit every particular gaming style with options for right- and left-handed players in addition to ambidextrous ones. As a sneak peek, visitors also had an opportunity to experience the soon-to-be-released ZOWIE VITAL audio system, an intuitive, driverless device that provides convenient adjustments to improve both sound and audio communication for games.

ZOWIE also conducted its own Counter-Strike: Global Offensive death match tournament at its booth three times per day each day — noon, 3:00 p.m. and 6:00 p.m. — to give players a chance to win a custom ZOWIE G-SR mousepad.

Follow @DreamHackOpen and @DreamHack on Twitter and stay tuned to @ZOWIEbyBenQ for other deals.

About ZOWIE
Introduced in late 2008, ZOWIE is a brand dedicated to the development of the best competitive gaming products to improve eSports athletes’ combat performance. In 2015, the ZOWIE brand was acquired by BenQ Corp. to aggressively lead the company’s eSports product line with products that deliver true competitive advantages. More information is available at ZOWIE.BenQ.com/.

About BenQ America Corp.
The BenQ digital lifestyle brand stands for “Bringing Enjoyment and Quality to Life,” fusing lifestyle with technology, enjoyment with productivity and aesthetic design with purpose-built engineering. It is this mantra that has made BenQ the No. 1-selling projector brand powered by TI DLP® technology in The Americas(1). BenQ America Corp. offers an extensive line of visual display and presentation solutions that incorporate the very latest technologies. The company delivers a broad range of Colorific™ projectors, ZOWIE eSports gear and monitors, interactive large-format displays, mobile audio products, cloud consumer products and lifestyle lighting for any application and market — education, home, gaming, enterprise, government, house of worship, digital signage, A/V and IT — with cutting-edge models that lead the industry in performance, reliability, environmental sustainability and aesthetics. Whether it’s interactive digital whiteboards for classrooms, full HD 3D projectors for home theaters, short-throw projectors for boardrooms, interactive flat-panel displays for digital signage or LED backlight monitors for professional gaming, BenQ continues to defy the limits of digital displays. The company’s products are available across North America through leading value-added distributors, resellers and retailers.

More information is available at www.BenQ.us.

(1) Based upon Q1’15 – Q3’15 data from the Quarterly Projector Shipment and Forecast Report from PMA Research

About BenQ Corporation
Founded on the corporate vision of “Bringing Enjoyment and Quality to Life,” BenQ Corporation is a world-leading human technology and solutions provider aiming to elevate and enrich every aspect of consumers’ lives. To realize this vision, the company focuses on the aspects that matter most to people today — lifestyle, business, healthcare and education — with the hope of providing people with the means to live better, increase efficiency, feel healthier and enhance learning. Such means include a delightful broad portfolio of people-driven products and embedded technologies spanning digital projectors, monitors, interactive large-format displays, audio products, cloud consumer products, mobile communications and lifestyle lighting. Because it matters.

Transportation

Supercars At London Motor Show Include Rolls Royce Dawn

May 6, 2016 The Silo Leave a comment

London’s famous Motor Show is back! Thanks to our friends at selectcarleasing.co.uk for the nifty infographic.

Gaming

DarbeeVision Video Scaling Processor Gives Gamers the Competitive Edge

May 4, 2016 The Silo Leave a comment

ORANGE, Calif. — May 2016 — DarbeeVision, Inc., a pioneer in the field of digital image enhancement, is taking gamers to new heights. The company’s new HD DVP-5000S HDMI® video processor is a stunning new advancement in the evolution of picture imaging that makes gaming action pop, giving players a sharper edge over their opponents. Going beyond traditional imaging enhancement, the DVP-5000S is powered by DARBEE Visual Presence™ (DVP) technology, a powerful human-vision-based computational image-processing model that renders game details in a more true-to-life vibrancy. Video games are displayed with greater depth, clarity, and realism with no input lag, delivering an ultra-immersive gaming experience.

With the New DVP-5000S Video Processor, Gamers Experience Enhanced Image Depth and Detail for Improved Gameplay.

Dbl click image to zoom for better comparison. — Double click image to zoom for better comparison.

With DARBEE Visual Presence™

“It can cost gamers the lead when they don’t know what they’re looking at because the image is so flat that it blends into the scenery,” said Larry Pace, president of DarbeeVision, Inc. “Our DVP-5000S enhances the details so gamers can make much more accurate decisions during fast-action gameplay. No matter if you’re using the latest and greatest gaming system, the DVP-5000S sweetens the picture quality even further — with less than 300 micro-seconds of processing lag.”

No bigger than the size of today’s smartphones, the DVP-5000S is a sleek, plug-and-play device that fits right in with any gaming system. Just connect an HDMI cable between your console or PC and the unit’s input, and another HDMI cable between the unit’s output and your TV or gaming monitor, and immerse yourself in the unexpected clarity and never-before-seen details of your favorite game. For example, in first-person-shooter (FPS) games, players gain the competitive edge because critical details are revealed that allow them to see opponents crouched or lying prone waiting to attack. In role-playing games (RPG), players are able to spot handholds and paths quickly and easily, accomplishing more levels in less time.

The DVP-5000S uses DVP technology to embed depth information into any image or video stream in real-time with virtually no lag and independent of fidelity, whether gaming in SD, HD, or UHD. This process gives your eyes the perception that what you’re seeing is real, breathing new detail into flat images without touching color, contrast, sharpening, or resolution. It even adds depth perception and realism to 3D to make it appear less artificial.

Using the unit’s remote control and split-screen demo mode, viewers can easily adjust the effect to their desired taste or choose between three auto-calibrated processing modes, including a “Gaming” mode, which dynamically improves the image quality of video games. Additionally, the “Hi-Def” mode is recommended for high-quality content such as Blu-ray®, while the “Full Pop” mode is designed for low-resolution and/or low-quality video sources.

With each new DarbeeVision product and OEM partners’ products, the company moves closer to its goal of bringing DVP technology to the entire world. DVP processing technology is so effective that Galaxy Microsystems, manufacturer of high-performance gaming cards, partnered with DarbeeVision to optimize its hardware and deliver the best gaming experience for its users.

The DarbeeVision DVP-5000S is available now for $249USD. More information about DarbeeVision is available at www.DarbeeVision.com.

About DarbeeVision

DarbeeVision is a leading pioneer in digital image enhancement, offering solutions that solve the universal problem of flat images by implementing an advanced computational method that embeds depth cues to allow the human eye to process picture the way the brain intends it. DARBEE technologies — Visual Presence™, Reveal™ and Probe™ — represent the next step in the evolution of digital imaging delivering never-before-seen levels of depth, clarity and realism. The company offers consumers ranging from the casual viewer to videophiles and gamers, as well as OEM partners and dealers across the entertainment, security and medical sectors a unique opportunity to take image quality to unprecedented new heights. DARBEE technologies are fidelity-independent and work with all video content — SD, HD, upscaled HD to 4K UHD, 4K UHD, IPTV, OTT, VOD, virtual or augmented reality, omni-view 360-degree video, cable, satellite, Blu-ray, and still images — making its solutions compatible and complementary with existing and future image processing and display technologies. Headquartered in Orange, California, the privately held company has set out to make its image processing solutions ubiquitous. More information is available at www.DarbeeVision.com.

OEMs can fully tap into the innovative advantages of DarbeeVision’s IP technology — already inside some of today’s prominent video display devices — by calling 714-787-1006 (Please mention The Silo when calling) or emailing [email protected]

Culture

America Meditating Radio Show Launches “Meditate The Vote – Real Conversation”

April 27, 2016 The Silo Leave a comment

Building a better and more cohesive environment through collaboration

Washington, D.C. – “Meditate the Vote – the Real Conversation” is the brainchild of the globally broadcast America Meditating Radio Show. In the midst of the election fever and the buzz that follows it, it is even more important that the citizenry is brought together to converse on mutual issues to create a better and more cohesive understanding of ways of moving the country forward and making the world a better place. Can getting into our Zen zone help Americans to decide who they vote for or what they do regardless of who enters office?

The #MeditatetheVote grassroots campaign to bring respect, compassion and a peaceful dialog to our election process, intends to create an avenue where people from diverse backgrounds can express their views via various means of social media including Twitter, Facebook, and YouTube and gatherings in homes and other venues. This campaign, supported by an alliance of friends, thought leaders and organizations from around the country, will be launched on the 1st of May, coinciding with the start of National Meditation Month and will continue leading up to Election Day on the 8th of November, 2016.

Our goal is simple. Meditate the Vote simply asks folks to amplify the quality of conversation using the Meditate the Vote questions to stimulate more inclusivity and partnership in the country as we lead up to Election Day on November 8th. Meditate the Vote does not endorse any candidate or political party. It is a movement to socially engage all folks into a higher and more cohesive way of working together as a people and a country.

The internet and social media platforms will be used in spreading the word with participants making videos saying “I, Meditate the Vote” and why, as well as sharing feedback from their conversations using Meditate the Vote questions.

There is also the Pause for Peace App available for users of Android and iOS devices to allow for constant communication, meditations and videos, and for listening to the America Meditating Radio Show featuring various prominent thought leaders sharing methods for personal development. For the Silo, Antonia Silvera.

About America Meditating

America Meditating was launched in June 2012, as a nationwide initiative to promote unity and peace as everyone is encouraged to pause for moments throughout the day to reflect within and create an environment where love, respect, and trust reign.

It subsequently resulted in the birth of the popular America Meditating Radio Show hosted by teacher and motivational speaker, Sister Jenna. The program is available across the globe on numerous platforms including Blog Talk Radio, iTunes, Stitcher, Aha Radio, Speaker, the Pause for Peace App, and the Player.FM App.

Supplemental: The David Lynch Foundation was established to ensure that any child in America who wants to learn and practice the Transcendental Meditation program can do so.

Travel

Finally, A Toronto Beer Festival On May Two Four Long Weekend

April 18, 2016 The Silo 2 Comments

It’s time to plan your May Two Four Long Weekend – by staying in the city! Building on the success of its perennial sell-out summer event, Toronto’s Festival of Beer is announcing the 3rd Annual Spring Sessions of Toronto’s Festival of Beer. On May 21st and May 22nd beer fans will break out their coziest cottage gear at Sherbourne Common outdoor space, at the foot of Lower Sherbourne Street. Spring Sessions will bring together more than 20 breweries, food vendors, along with all the amenities of a cottage in the city! Plus the first 500 people who purchase tickets for each day will receive a limited edition Spring Sessions snapback hat.

“We are thrilled to bring this incredible beer experience to the people of Toronto on the May Two Four long weekend.” says Les Murray from Toronto’s Festival of Beer. “Everything you’d expect at a cottage will be here in the city, topped off with an amazing array of brews!”

Several breweries will be sampling their beer at Spring Sessions, including: All or Nothing Brewhouse, Creemore Springs Brewery, Henderson Brewing Co., Steam Whistle Brewing, Granville Island Brewing, Beau’s All Natural Brewing Company, Big Rig Brewery, Great Lakes Brewery, Brickworks Ciderhouse, Mill Street Brewery, and more.

With some of Toronto’s hottest restaurants preparing food on site, you will be able to pair your favourite brew with offers from: Tiny Tom Donuts, Ontario Corn Roasters, Ted’s World Famous BBQ, Chimney Stax Baking Co., The Pie Commission, Smokes Poutinerie, Oyster Boy and more. For the Silo, John Sinden.

Tickets for Spring Sessions of Toronto’s Festival of Beer are on sale now for $30cdn, which includes five sampling tokens and a Commemorative Festival Mug and a limited edition Spring Sessions snapback hat to the first 500 people who purchase tickets for each day. This is a 19+ event. Tickets for the festival can be purchased online at www.beerfestival.ca/spring

When:

Saturday, May 21st: 12:00PM-7:00PM

Sunday, May 22nd: 1200PM-7:00PM

Where:

Sherbourne Common. At the foot of Lower Sherbourne Street, next to Corus Quay at George Brown College.

About Toronto’s Festival of Beer:

The TFOB Mission is all about beer; showcasing local and international beer at Spring Sessions on the May Two Four Weekend, as well as, Canada’s largest summer beer celebration, Toronto’s Festival of Beer on July 22nd – 24th at Bandshell Park inside Exhibition Place. This summer, beer fans from across the country will come to celebrate their favourite golden beverage while enjoying culinary delights from some of Canada’s top chefs, beer education sessions, live grilling demos and so much more! Last year, over 35,000 attendees enjoyed live music from great acts like Naughty By Nature, 54-40, and Lowest of The Low. This year, fans will enjoy House Of Pain on Friday night and Big Sugar on Saturday afternoon.

Travel

Montreal Restaurant Renoir Is Part Of Culinary Golden Mile

April 14, 2016 The Silo Leave a comment

SOFITEL MONTREAL GOLDEN MILE

ON S’EN MET PLEIN LES PATTES

Chaque jeudi Every Thursday

Du 14 au 28 avril, de 17h à 20h

From April 14 to 28, from 5 p.m. to 8 p.m.

Bar à crabe des neiges et oursins

Snow crab and sea urchins bar

Le printemps arrive, le crabe des neiges aussi ! Joignez-vous à nous au restaurant Renoir pour découvrir nos fameux cocktails ainsi que des produits sélectionnés par notre Chef Olivier Perret.

Spring is coming, so is the snow crab! Come join us at the Renoir restaurant to discover our famous cocktails and products selected by our Chef Olivier Perret.

Servis avec mayonnaise maison et garnitures

Served with home-made mayonnaise and garnish

30 $

Taxes et service non inclus

Taxes and service not inclued

Restaurant Renoir
1155 Sherbrooke Ouest
Montréal, H3A 2N3, Québec
[email protected]
+1 (514) 788-3038
www.Restaurant-Renoir.com

#RenoirDesNeige

#RestaurantRenoir

#SofitelMontreal

1155 Sherbrooke Ouest – Montreal – Quebec – H3A 2N3 – Montreal – Canada
Tel: +1 514 285-9000 – Fax : +1 514 289-1155 – [email protected] – www.sofitel.com/Montreal

Culture

May 4 is Yom HaShoah ‘ Holocaust Remembrance Day ‘

April 13, 2016 The Silo 1 Comment

The Holocaust was a time of devastation, hate and corruption and is considered one of the most terrible events in human history.

While the horror and mass extermination of more than six million Jews is known as fact around the world, it is more than just history to Arthur Weisze— it is his most vivid and harrowing memory.

“The most appropriate tribute that we can pay to the victims of the Holocaust is to never let the world forget that it happened,” says Danna Horwood, Executive Director at Margaret’s Legacy. “Education is a vital tool to ensure it is not forgotten and to remind generations why we cannot allow history to repeat itself.”

Margaret’s Legacy is an umbrella agency that seeks to provide Holocaust education through tools such as the documentary ‘Margaret and Arthur’s Story’. This thirty-five minute film chronicles Margaret and Arthur Weiszes’ experiences during WWII, their escape from Hungary to Canada and their new life in Hamilton, Ontario—told through the eyes of Arthur and Weisz’s descendants.

In an effort to give younger audiences a better understanding of what happened during the Holocaust and its lingering effects, the documentary addresses the themes of courage, survival and love, and educates youth about the need for tolerance and kindness in the world.

“As we approach Yom HaShoah, Holocaust Remembrance Day, [Full name is Yom Hashoah Ve-Hagevurah CP] it is important to listen to the stories of those who lived and experienced this tragic time,” adds Danna. “It will become harder as time goes by, to learn from first-hand experiences and to truly feel the impact that the Holocaust had on six-million Jews and their families.”

Danna Horwood and her youngest daughter Jamie Rose (both descendants of Margaret and Arthur Weisz) will present to community members at the Hamilton Hebrew Academy on May 5th. Margaret and Arthur’s Story’ will also be screened. For the Silo, Lauren Dam

For more information, please visit http://www.margaretslegacy.com/site/home.

About Margaret’s Legacy:

Margaret’s Legacy is an umbrella agency that seeks to provide holocaust education through tools such as the documentary ‘Margaret and Arthur’s Story’. Using their harrowing, yet inspirational story as a backdrop, Margaret and Arthur’s Story is a documentary produced specifically for young viewers to educate them about the Holocaust, its impact and why we cannot allow history to repeat itself.

Supplemental- How the Holocaust rocked RUSH front man Geddy Lee

Fashion

Multi Aroma Diffuser from the Future…available Today

April 8, 2016 The Silo Leave a comment

Digital Habits presents Bouquet at Fuorisalone 2016, revolutionary IoT multi-aroma diffuser that blends physiology and olfactory scenarios. A new humanism of industrial projects: technological products become essential and sensitive, able to transform the perception of the environment in which they are placed.

Fuorisalone 2016, April 12th – 17th, Milano, SuperStudioPiù, Selected Objects

At Fuorisalone 2016 (April 12th-17th) following the main theme “White pages”, which refers to those metaphorical ‘white pages’ whereby the future world still needs to be written, Digital Habits presents new products that integrate physical and computing elements, shapes and sensitivity, to draw new atmospheres in the home.

Bouquet is the new product of the Digital Habits collection, which brings a new sensory dimension into the living experience: the sense of smell. This project is extremely innovative and investigates the relation between olfactory perception, physiology and psychology.

The body, made of blown glass, is divided in two compartments that contain two different aromas. This decision came after studies on the influence that smell can have on different human activities. With Bouquet it is possible to diffuse separately or simultaneously two different scent scenarios: e.g. relaxing, energizing and so on, according to personal preferences.

Thanks to the inner clock and a Mobile App, it’s also possible to schedule via Blutooth the aroma diffusion during the day to create, at the right time, welcoming situations. For example an activating aroma can help a prompt and energetic wake-up in the morning, while a relaxing aroma can create the right conditions to get asleep.

Bouquet has the following characteristics:

Multi-scent, to select the most fitting fragrance to the different moments of the day.

Smartphone App with bluetooth connectivity to manage and set one or more diffusers wirelessly.

Scenario Manager to automatically schedule an aroma diffusion according to the time of the day (wake-up, back-home, getting asleep), personal habits (concentration, relaxation) and the purpose of each room of the house (living room, bedroom, bathroom, kitchen).

Do you have room for another smarthphone app? Sure you do!

Presence, to detect the temporary or permanent presence of people in a room and clean the air or flavor it with a pleasant smell.

Custom Intensity, settings to manage the level of intensity of the fragrance depending on personal preference and room size.

Ecosystem, integration with the Digital Habits product range to create new experiences that blend elements of light, sound and scent and recreate situations such as a natural wake-up.

A colored and tunable white light controlled by the Mobile App, is also integrated in Bouquet to complete the sensory experience. Bouquet complements the collection of Digital Habits multi-sensory products such as Cromatica and OSound Light, which transform the perception of the space in which they are placed creating new domestic atmospheres.

At the Fuorisalone 2016, Digital Habits will also presents:

a new version of Osound Light which combines a Bluetooth speaker and a disc of light that creates unexpected atmospheres and gradients.

Dragon, fractal led lamp that grows in the space thanks to the aggregation of smart modules. Dragon is now presented in new table and wall versions.

Another Moon and Kizuki, two new IoT projects resulting from the collaboration between Digital Habits and QUANTUM the innovation accelerator based in Tokyo, part of the global advertising agency TBWA. Another Moon is an object that marks the lunar phases within metropolitan private environments where this awareness is fading out. Kizuki is an IoT signage that allows to intuitively and subtly ‘feel’ the climate within your home.

DIGITAL HABITS

Digital Habits is the innovation platform of the international design studio Habits. Founded in 2012, it focuses on creating interactive and IoT products.

The Digital Habits collection includes objects of sound, light and scent. The products create seamless multisensory environments, which involve different perceptions and activate synesthesia.

Digital Habits products are now available in the most exclusive retail locations such as the Armani Mega Store in Via Manzoni in Milan and Mondadori Mega Stores.

Per ulteriori informazioni o per segnalare la tua pubblicazione scrivi all’indirizzo [email protected]

Sci-Tech

9 Things to Know about Wearable Tech in Health and Fitness

April 4, 2016 The Silo Leave a comment

Here’s a fun wearable Infographic from our friends at igotcrazy.com. Do you agree with their projections of use?

•    By 2019, more than 33% of U.S. adult population is expected to be using the wearable tech?
•     According to a survey wearable technologies such as fitness trackers, smart watches and GPS tracking devices are expected to be the No. 1 fitness trend in 2016.
•    Wearable devices could possibly be a way for companies to better understand their team.

Culture

Celebrate 20th Century Fox Alien Day On April 26 With Re-Issued Reebok Shoes

March 29, 2016 The Silo 2 Comments

Is the Alien(s) franchise overdue for an official day of recognition and fan celebration? I think so. Fans of the original 1979 movie and the sequels and prequel that followed are a loyal bunch. They spend money on toys, posters, t-shirts, Blue-ray box sets and some like me, shelled out big bucks in 1987 for a pair of Reebok’s Bugstomper shoes. That’s dedicated fandom.

#AlienDay426

This week’s big announcement of #AlienDay has coincided with reports in the media of ‘new’ Reebok Aliens shoes. I have serious doubts that any of those writers responsible for the reports are hard core fans of the franchise. If they were, they would know that the Reebok shoes being written about were actually available almost 30 years ago.

Perhaps I’m splitting hairs here. There’s a good chance that the re-issue shoes might be slightly different than the original Bugstompers. Images and an official 20th century fox poster being used to promote the re-issues show the Alien character Ripley in a pair of very noticeable “high top” Reebok Bugstompers. Back in the day, only “mid top” shoes were available.

What else besides shoes?

Beginning at midnight and lasting 24 hours, 4/26 (an homage to the planet LV-426) will be filled with product launches, nationwide screenings and a Twitter trivia contest that will give away ALIEN merch every 42.6 minutes. Now you know what that twitter hashtag #AlienDay426 is all about: make April 26 the de-facto fan day for the Alien franchise. CP

Did you know?

The most sought after Alien collectible is the 1979 Kenner 18″ Alien doll– a fine likeness of H.R. Giger’s design. Originally pulled from toy store shelves due to frightening parents and children alike.

UPDATED- Aliens | July 2016 Comic Con Full Panel (James Cameron, Sigourney Weaver, Bill Paxton)

Click me! New Music created from early sci-fi soundtracks.

Culture

The Metapolitics of Burning Man- ‘Fighting the Lie of The Normal Art Economy’

March 27, 2016 The Silo Leave a comment

OCCUPY BLACK ROCK! THE METAPOLITICS OF BURNING MAN by MARK VAN PROYEN

As annual journalistic rituals go, the annual Time Magazine “Person of the Year” has been the most enduring barometer of the spirit of the moment of its announcement. For close to a century, the banner was “Man of the Year,” but after Corazon Aquino and Queen Elizabeth smiled at the world from the front cover of that inﬂuential publication, gender neutrality became the preferred modality. In 1982 “the computer” received the coveted award, so gender went out the window altogether. But the 2011 award was given to “the protestor,” and the representative image was a masked face of an angry-eyed anonymous person.

TOP Black Rock City from above Photo: AJPN Anthony Peterson BOTTOM Black Rock City seen from Old Razorback Mountain Photo: Peretz Partensky — TOP Black Rock City from above Photo: AJPN Anthony Peterson
BOTTOM Black Rock City seen from Old Razorback Mountain
Photo: Peretz Partensky

This image followed a long year of public demonstrations that started at Cairo’s Taﬁr Square in late January 2011, spread to the shores of Tripoli and then moved on to Damascus. In September 2011, it arrived in New York’s Zucotti Park, a tiny sliver of public space surrounded on all sides by the world’s most prominent ﬁnancial institutions. According to the surging multitudes that participated in what would come to be known as Occupy Wall Street, those institutions were evil, and needed to be called into account.It took the major media a full ten days to report the story of the occupation of that little park, although the story had already been thoroughly distributed via social media networks. The movement’s rhetoric was ingeniously crafted for those modes of distribution, and usually took the form of declarative slogans. These proclaimed that the protestors represented the 99 per cent of the American population that would no longer stand for being ﬂeeced by irresponsible government tax policies, a lack of regulation of the ﬁnancial markets and a vast system of political bribes routinely called “campaign contributions.” Conservative commentators squealed “Class War!” in comic disregard of an OWS placard reminding its readers “they call it class war when we ﬁght back!” From the OWS point of view, that war had been ongoing since Ronald Reagan’s ﬁrst term in ofﬁce. When the major media did get around to picking up the story, “What do they want?” or “What are their demands?” were published everywhere, as if the protestors were unintelligible in their calls for economic justice and political fair play. OWS did not give in to the “demand for demands” and this is crucially important, because their movement never was nor is now a conventional exercise in political advocacy. It is much better to describe it as a case of spontaneous socio-cultural upheaval intended to reshape contemporary political priorities into a more ethical form. In an America where an uber- wealthy minority has garnered a proportionally larger piece of the economic pie for decades, one might have anticipated that the protesters would have adopted a more conventional form of utopian rhetoric. But theirs was decidedly pragmatist. They pointed at real problems that could and should be solved in a political practice governed by simple sanity. One sign read, “I don’t mind you being rich. I mind you buying my government out from under me.” The sign referred to the draconian political atmosphere created when the Supreme Court voted ﬁve to four to overturn the McCain/Feingold Campaign Reform Act in the now infamous Citizens United vs Federal Election Commission decision of 2010. 3

The real issue at stake in the Occupy Movement’s actions is the control that money exerts over the political process. The movement reveals the plutocratic Achilles heel of neoliberal corporatism’s claim that it is more democratic than its chief rivals in model government. I call these rivals “state capitalism” and “theocratic tribalism,” and intend them to be non-euphemistic names for what are conventionally called socialism and religion-based social organization. Because of its distinctly modern emphasis on upholding the prerogatives of individual political actors, neoliberal corporatism is easy to sell as the ideology of choice for free thinkers. But, as history shows, free thinking never stays free for long, because it too has to live in a marketplace of encouragements and discouragements governed by instrumental rationales that are epiphenomenal to the formation and protection of wealth. In other words, those who have the gold set the standards, regardless of any vision of or obligation to social fair play. This insures that instrumental reason will always protect itself from any utopian vision so that in the realms of conventional discourse, we are always given an “intelligentsia” that functions as the public face of bureaucracy and policy. However “oppositional” its posture of hidden loyalty might be, it will nonetheless always end up ﬂeeing from the Socratic mandate that philosophical thinking helps its aspirants to actually live better. From the point of view of the Occupy movement, that mandate desperately needs to be returned to the core of any thinking that seeks to establish anything resembling a political priority.

When I refer to model forms of governmentality, I am not pointing to any operational political entity, any and all of which are circumstantial admixtures of the three models of neo-liberalism, state capitalism and tribal theocracy all achieving legibility much in the same way that tertiary colors do through the mixture of the primary hues of red, yellow and blue. For example, social democracy is really a blend of neo-liberal corporatism and state capitalism. Another example reminds us that there will always be a black market of goods and subversive ideology working in the shadows of any state capitalist system, or for that matter, within any theocratic tribe. Any system conﬁgured around any of these three model forms will also contain latent aspects of one or both of the others, arranged into dominant and subordinate formations. These are always in a perpetual state of change and reconsolidation.

They are also always in a state of subtle redeﬁnition, and the factors that shape these redeﬁnitions can sometimes come from surprising vectors. The Occupy Wall Street movement is one such example, surprising in that it refuses to operate according to the rules of normative political advocacy. Whereas the extremely conservative Tea Party rallies held during the previous year were examples of a durable tradition of anti-government American populism, the OWS movement is representative of an equally durable anti-bank populism that has a long-standing place in American history reaching back to early colonial laws against debtors’ prisons. Even though the two groups blamed different entities for the economic misery that swept the land after the 2008 ﬁnancial crisis, there is an important difference: in an act of support for the second amendment, Tea Party activists often brought guns to their rallies. The only ﬁrearms seen at Occupy Wall Street (and its more contentious sister event, Occupy Oakland) were in the hands of over-zealous law enforcement ofﬁcers. Occupy Wall Street events are signiﬁcantly more complicated animals than their Tea Party predecessors. The movement has gone far out of its way not to be co-opted by the mass media or any collection of candidates for public ofﬁce. Conversely, the Tea Party groups were all too happy to be ventriloquized by Rupert Murdoch’s Fox News afﬁliates. OWS had a justiﬁable concern that any such afﬁliation would inevitably lead to the seven stages of political futility: cooptation, division, dilution, paciﬁcation, neutralization, disappointment and betrayal. Because of these concerns, what one sees coming out of the Occupy movement is not an exercise of politics deﬁned by the normal terms and conditions of any conventional political science. Rather, it operates as an example of what Alain Badiou has called a Metapolitics, that is, a strategic restaging of the ethical grounds by which political matters are imagined, understood, debated and acted upon. According to Badiou, Metapolitics is a form of “Resistance by Logic.” 4

No group, no class, no social conﬁguration or mental objective was behind the Resistance… there was nothing in the course of this sequence which could have been described in terms of objective groups, be they ‘workers’ or ‘philosophers’…. Let us say that this resistance, proceeding by logic, is not an opinion. Rather, it is a logical rupture with dominant and circulating opinions…. For the contemporary philosophical situation is one where, on the ruins on the doctrine of classes and class consciousness, attempts are made on all sides to restore the primacy of morality. 5

It is particularly interesting to look at Badiou’s metapolitical thesis in light of his larger project to transform the most basic grounds of philosophical inquiry so as to place greater emphasis on ethics. He is well known for proposing a change in the basic categories of philosophy (metaphysics, ethics, logic and epistemology), seeking to restage them as the interdependent “truth procedures” of “art, love, politics and science.” 6

His metapolitical restaging of the truth procedure of political science can be understood to be of a piece with his postulation of an ethical “inaesthetics.” This seeks to deny the meditative subject/object relationship of contemplation with something suffused with “immanence and singularity,” leading to a “transﬁguration of the given.” The Occupy Wall Street movement has followed suit on this score, fashioning itself as an immanent and singular metapolitical gesture that has embraced a unique resistance by logic that was and still is a vigorous disruption of logic. It has accomplished this by staging a theatrical moment that calls attention to the withering state of the commons, that being the place of democratic co-existence and rational debate where all citizens can freely enter and exist regardless of their inability to rent media time. And let there be no mistake: in the second decade of the twenty-ﬁrst century, social media has become the new commons, needing only a shared event to galvanize its attention to the point of putting a wide-ranging discourse about political priorities into play on a vast and unregulated scale. Occupy Wall Street is one such event, one whose time has clearly come. But the model for this kind of actual/virtual exercise in reformulating a common space into a rhetorical congregation had been established two decades earlier in a very different public location that also galvanized a vast virtual community. It too was a brilliantly conceived exercise in a metapolitical “resistance by logic.” That space was and still is the vast Black Rock Desert, a dry lakebed in northwestern Nevada that is administered by the Federal Bureau of Land Management.

Karen on Eileen and George, from Crude Awakening PHOTO: ROGER MINKOW M.D. — Karen on Eileen and George, from Crude Awakening
PHOTO: ROGER MINKOW M.D.

The event was and still is Burning Man. Since the early beginnings of the Internet, many observers have postulated that there was revolutionary potential in its ability to widely and instantaneously distribute unmediated information. Some have proclaimed it to be the new commons, this in recognition of how the forces of neoliberal corporatism have turned the old commons into shopping malls of various kinds, those being places where the subtle doctrine of “pay to play” began to slowly displace all other opportunities for political participation. Burning Man was the ﬁrst major instance of an organized recognition of this new communal possibility of the digital revolution, and the ﬁrst to act upon it at any meaningful scale. It did so by “occupying” a piece of public land in a wilderness area, and then conﬁguring itself as a kind of free city where monetary exchange and corporate advertising would not be allowed. Participation, collaboration and self-reliance were upheld as paramount civic virtues, and art was deﬁned and welcomed as the product of any “radical free expression” that any person could devise, regardless of any lack of previous experience or education. When web-browsing software ﬁrst became available in 1994, Burning Man was already nine years old, and had already been using email networks and virtual bulletin boards to distribute its messages to a growing audience. The emergence of such communications technologies were a natural ﬁt for the event, and even to this day, it has never paid for any advertising beyond the printing and mailing of its own promotional materials. That was the same year that the mass media initially came out to report on the event. The following year, the population doubled, making it clear that a tax on participants was needed to cover necessary costs for staging the event on a much larger sale. Admission tickets were sold, and federal rules were re-written so that the federal Bureau of Land Management could charge the organizers of Burning Man a hefty fee to use the space. Soon after that, much more money was spent in legal fees to support litigation that should have never have come to any court’s attention, if constitutional guarantees of rights to free assembly and self-expression were deemed worthy of any respect. But they weren’t, because it was difﬁcult to convince certain political operators that the self-expressive thing that had engendered Burning Man’s free assembly of pilgrims had anything to do with art. From their point of view, what was happening at an increasingly large scale every year in the Black Rock Desert on Labor Day weekend was much more frightening, in that its almost complete lack of artistic supervision portended something akin to a mass participation Satanic ritual.7 It also threatened to unmask the lie that art had become.

From the perspective of an art world populated by museum curators, globe trotting art collectors and the toney gallerists working the crowds at international art fairs, Burning Man represents a kind of Special Olympics for Art. To give credence to this view, all any nay-sayer would have to do is attend the event and take in its many starry-eyed unicorns and countless geodesic domes built in service to obscure comic-book deities fashioned from disﬁgured mannequins. If our nay-sayer were guided by courage and in search of additional evidence to support her initial observation, the next logical destination would be the large indoor exhibition space called the Café, which is usually decorated by the work of a great many amateur photographers and collage artists working on heavy doses of misinformed spiritual pretense and undeserved self-esteem. And yet, as revealing as the Café environment might be, it still pales in comparison to the best place to witness Burning Man’s culture of unfettered creativity, that being the array of unmapped theme camps located away from the Esplanade that separates the event’s semi-circular camping area from the mile-wide no-camping zone at its core. Here, one is liable to ﬁnd a vast assortment of incomprehensible do-it-yourself efforts at representational makeshiftery, often times manifested in things that look more like distorted family entertainments than the objects of any conventional art history. Looking like the mutant offspring of a theme park and a slum conceived in the prop closet of George and Mike Kuchar’s Studio 8 Production Company, 8 these provisional amalgamations of such materials such as ﬂuorescent fabric and solar powered lava lamps oftentimes seem to allegoricize the traumas and contradictions of a consumer culture blindly addicted to the debt-driven circulation of pseudo-goods and non-services; all saying something troublingly oblique about an America that is amusing itself to death in the age of Walmart.

The real value of Burning Man lies in how it reverses this model. It does so by simply allowing its participants to amuse themselves back to life through their participation in a week of collective catharsis. Fortunately for our dyspeptic pilgrim, the artistic offerings of Burning Man get bathed in a seemingly endless sea of electro-luminescent blinky lights when nightfall arrives, and her attention will then most likely be diverted by an omnipresent soundscape of pulsating techno music punctuated by the explosive ﬂashings of propane ﬁreballs surging into the sky. To this, add the lumbering peregrinations of large, slow moving vehicles that appear as grotesque carnival rides taken from a Dada-themed amusement park, and the picture of a vastly absurd semiotic entity comes close to completion, a relational esthetics

gesamtkunskwerk 9 that is metaphorically and geographically located at the exact half-way point between San Francisco’s Mission District and Robert Smithson’s Spiral Jetty protruding from the north shore of the Great Salt Lake. It is equal parts game space and refugee camp, and as such, it presents itself as a gargantuan omni-participatory rejoinder to the regulation of subjectivity embedded in the cognitive illusions bred by normative market-deﬁned existence. And for this reason, the ensemble experience of participating in Burning Man provides a much-needed transﬁguration of everyday assumptions about what passes for cultural nourishment. Its chief lesson lies in the way that it demonstrates how well a do-it-yourself social economy can work if and when it reframes itself in the terms of a do-it-with-others ethos, and this represents a profound political revelation as well as its chief metapolitical legacy to be later taken up by the Occupy Wall Street movement.

Rather than calling this vast entity by its proper name of Black Rock City, lets give it a more descriptive moniker: the living model of an alternative version of contemporary culture based on advancing an ethical glocalism as the highest of priorities. And then let us note that, in theatrically performing itself as such a model, it also forms itself into a fun house mirror reﬂection of the absurdities of twenty-ﬁrst century existence, all-the-while organizing itself as a temporary corrective for many of that century’s social and political shortcomings, especially those pointed toward systematically excluding people from social participation for no good reason. At Burning Man, the stranger is always welcome, and there are always opportunities for any given participant to do things that she never imagined herself to be doing. And in so doing, she oftentimes learns a great deal about the roles that she plays in her everyday life, in turn allowing her to imagine and act upon other roles that might lead her to a better world, at least for herself and maybe for others. Yes, Burning Man does feature a great deal of so-called “New Age” art made by people who might best be called hippies, and yes, almost all of that art is at best a guileless exercise in naïve cluelessness that is scripted not so much by any “radical free expression” as it is by the simplistic recirculation of pop cultural cliché. At worst, it is something on a par with toenail fungus, but even that can be strangely entertaining when contrasted with the vastness of the desert. Indeed, accounting for maybe two- or three-dozen notable exceptions during the past decade, we would have to concede that almost all of the art at Burning Man is as bad as its detractors say that it is. But in admitting this fact, another obvious question comes to the fore: in the great scheme of things, how important is it whether any of it is bad or good? And following from this, another obvious set of questions: who or what are the entities that are empowered to decide on any such differentiation? What values do they represent? What is masked by the authoritative proclamation of said values? And again: why does any of it matter?

Turnabout being fair play, it now becomes obligatory to imagine what an everyburner might make of the current world of contemporary art, resplendent as it is when ensconced within opulent museum architecture and festooned with price tags that are the monetary equivalent of real estate when it is not. It is undeniable that those environments are the sites of a kind of authoritative coldness designed to intimidate the viewer into a kind of passive submission to the historical authority of those things that are beheld within them. It is also undeniable that the large majority of those snobjects contain very little that conveys the kind of truthful generosity that might reward the attention of the serious viewer who is not party to the vested interests that have been inﬂuence-peddled into the visible existence of their environment’s adoration.

And so, our everyburner would no doubt ask: given the sorry state of the world, why all the fuss? Presumably, money is part of the equation, although it is difﬁcult for the uninitiated to see exactly how it plays out through the elaborate web of private, corporate and public support that buoy any given museum’s orchestration of the importance effect. As Paul Werner succinctly put it in 2005: “The illusion that art museums could be run for proﬁt like everything else was derived from the notion museums themselves had worked so hard to foster: that art and capital were all one and circulated in the same manner.”10

Werner goes on to quote former Metropolitan Museum director Phillipe de Montebello’s statement that “It is the judicious exercise of the museum’s authority that makes possible the state of pure reverie that an unencumbered esthetic experience can inspire,”11 and then goes on to state that “by the same logic, the absence of ‘a state of reverie’ interferes with ‘the judicious exercise of authority.’” Werner drives this point home when he writes “What Brecht wrote of the Nazis then now applies to cultural apparatus of the twenty-ﬁrst century: they want to turn the People into an audience. Same policy, different means.”12

Once again, we are reminded of the truism stating that propaganda works best when those who are being manipulated believe that they are acting on their own free will. How you might ask, and the answer is obvious: in the way of the translation of a certain class of objects—let’s call them symbolic commodities—into a certain class of equities. It is easy to suppose that said equity is simply gained from the fortuitous position that any given investor might take amid the normal value/worth ﬂuctuation of the commodity in question. But works of art are not commodities in same way as are barrels of crude oil or tons of copper, nor is it a form of reserve currency as are ounces of gold or silver. The commodity value of a given work of art is instead a function of its status as a reliquary representation of its own myth status, and that is something that continues to be manufactured long after said work of art leaves the studio of the artist who created it. Ultimately, it is the museum that conﬁrms the mythic status of the objects that it chooses to display and collect, creating a fortuitous feedback loop that points to how the world of contemporary art has been transformed into a rather perverse epiphenomena of the ﬁnancial services industry.

Here is how the normative art economy actually works. Artist a) makes a work of art b) and shows it at the gallery of dealer c), who gets it written about by critic d) and then sells it to collector e) for f) amount of money. Collector e) hangs on to artwork while the reputation of artist a) rises by way others repeating the same machinations described in the aforementioned equation, and then, at a fortuitous moment, she either sells said artwork for proﬁt f)+x , or more normally donates said artwork to museum g), for which she receives donor recognition h), which represents the fair market value that museum g) places on artwork b).

Because the work has been accepted into museum g)’s collection, its fair market value automatically rises, so that donor recognition h) is actually worth much more that the original purchase price f) of work of art b). And it is donor recognition h) that collector e) sends to the tax collector as a claim for a tax deductable charitable contribution that reduces collector e)’ s overall tax burden by a signiﬁcant sum of money (yes, the federal government does support the arts!). The value added portion of this equation lies in how much greater a sum of money donor recognition h) represents in relation to original cost of artwork b), and in many cases that sum is ten or 20 or 100 times the original investment. Thus the economy of art is laid bare, and it can rightfully be called a speculative marketplace in objects that might represent a signiﬁcantly enhanced tax-deductability that can be exercised at some future juncture, all assuming that museum g) is interested in acquiring work of art b) at any point in time. This means that work of art b) has to ﬁt in with what museum g) considers to be a worthwhile esthetic experience, based in part on its own vested interest in perpetuating its ability to exercise such consideration. Werner gets that particular point right when he states that “if the Guggenheim, or any other museum, had actually covered its expenses through admissions, that would have harmed its true function: The manufacture of exclusiveness.”13

But, even though money is a major part of the equation, it by no means is all of it. It is worth noting that Werner’s remarks about the museum world point to a speciﬁc historical moment, and that moment was deﬁned by the aftermath of the politically motivated reformulation of the National Endowment for the Arts that took place between 1989 and 1994. After that reformulation (which effectively ended government support for the arts in the United States), both the world of the museum and the larger world of contemporary art were momentarily recast as perverse sub-functions of the entertainment industry, with a reigning style called “Pop Surrealism”14

This coming to the fore as the stylistic marker for the art of that brief and bygone moment, and indeed, a perfectly useful and legitimate term that could accurately describe much of the art that one might ﬁnd at any given iteration of Burning Man. In fact, it is a far more accurate term than the more common ascription pointing to it as new form of “outsider art.” This is so because at that particular moment, there was a major lack of clarity about what was inside or outside of anything other than what ﬁnancially motivated turnstiles might keep in a state of separation, and in the wake of the cessation of government funding, an increase in audience size became an necessary institutional mandate. Thus, we had an art style that “took its inspiration from popular culture,” meaning that it was trying and failing to be popular culture, rather than the kind of critical comment on it that we saw with 1960s Pop Art. Part-and-parcel with the 1990s embrace of Pop Surrealism as an audience development strategy was another related trend called Postart spectacle, which transformed whole museums into elaborately staged pseudo-operas of the type made famous by Matthew Barney, Paul McCarthy and Martin Kippenberger—artists who all infused Pop Surrealist esthetics with the theme park ambience of an arena rock concert. Finally, it is worth noting that the rhetorical pendent that was hung around the neck of this esthetic shift toward popular entertainment was something called “art writing.” It did not come from the traditional world of art historically trained art critics, but instead issued from a new hybrid discourse that proclaimed itself to be something called “visual studies,” which in many cases was little more than culturally sensitive entertainment reporting—“celebrity porn journalism” to use a deservedly uncharitable term. Its most characteristic feature was a shameless willingness to be used as a tool for institutional audience development.

Nonetheless, in the art world, all of this was brief and transitional, because the focus would again shift in dramatic form after the 9/11 terrorist attacks, making Pop Surrealism suddenly look very anachronistic. Very soon thereafter, Globalism became the new buzzword for a suddenly robust emphasis on a transnational art hailing from under-recognized parts of the world. Presumably, Globalism represented an impetus toward encouraging the embrace of art as an instrument of national liberation, or failing that particular pretense, as a focal point for the kind of cultural lubrication that might politically facilitate desirable access to the labor, natural resources and markets of the developing economies so dearly prized by neoliberal corporatism. It might also represent a politically motivated usage of art as an instrument of paciﬁcation, that is, as an administrative technology for deﬂecting the potential for actual conﬂict into the containable realm of symbolic conﬂict. The visible shape that this newly globalized art took on was not manifested in any particular form of artistic cultural production, but instead, was revealed as a relatively new form of cultural presentation called the Mega-Exhibition. These were exempliﬁed by such time-honored extravaganzi as Documenta and the Venice Biennial, but also by a metastasizing host of newer entries into the global mega-exhibition fray, held in such cities as Istanbul and Taipei. These are giant affairs that operate under the guidance of an elite class of internationally renown curatorial directors, and in addition to operating as certiﬁcation mechanisms for the investability of the art contained by them, they also function as major engines of cultural tourism and transnational ideological propaganda that have been used to enrich the coffers of their host cities. It is also worth thinking about how other imperatives might be in play. As Okwui Enwezor has written, globalism embodies a new vision of global totality and a concept of modernity that dissolves the old paradigm of the nation-state and the ideology of the ‘center,’ each giving way to a dispersed regime of rules based on networks, circuits, ﬂows, interconnection. Those rhizomatic movements are said to operate on the logic of horizontality, whose disciplinary, spatial, and temporal orders enable the mobility of knowledge, information, culture, capital, and exchange, and are no longer based on domination and control… globalism was part of the maturation of a certain kind of liberal ideal, which in its combination of democratic regimes of governance and free market capitalism was prematurely announced as the end of history.15

These attributes are all pointed at the imagination of “a truly uniﬁed world system whereby all systems of modern rationalism would ﬁnally be properly fused.”16

Of course, the inquiring mind will ask, to what end? And more importantly, to whose end? Of course, answers to these questions are never made clear, perhaps because they cannot be made clear. But it is worth pointing out that the impetus toward the aforementioned fusion is a very different thing than the impetus toward cultural diversity, and it is also interesting to note that among the many topics of cultural identity that have surfaced during the heyday of the global mega-exhibition, the debt obligations of post-colonial nation states is one that almost never comes up. That is because the thing instigating and beneﬁting from the aforementioned fusion is a global, trans-national banking system that has learned how to use both art and nation states as tools for its own purposes. That much said, we can go on to productively note Burning Man is also a mega-exhibition, but in many ways it is also an anti-mega-exhibition, especially in the ways that it preﬁgured, mirrored and satirized the “the rhizomatic logics of horizontality, interconnection and dispersal” that have become de rigueur themes in twenty-ﬁrst century art. III

Electrical Suit sketch by Dr. Austin Richards AKA Dr. Megavolt

For all of Burning Man’s claims of being a place apart from the default world that it pretends to leave behind, it nonetheless does seem that the event sustains an oblique relationship to that world. During the technologically addled 1990s, Burning Man seemed to be prophetically far ahead of the cultural environment surrounding it. The chief reason for this was its far-reaching imagination of the ways that new technology could recast how social relations might be reconﬁgured in critical relation to what Naomi Klein would later call “Disaster Capitalism.”17

In those days, the presiding spirit of Burning Man was not any getting back to the mythical garden that so captured the imagination of the Woodstock generation so much as it was a celebration of various kinds of real and imagined love taking place amongst the post-apocalyptic ruins of rampant military adventurism and ﬁnancial and ecological unsustainability. But in 2001, the specter of real apocalypse became traumatically evident when the 9/11 terrorist attacks ushered in an unfunded war wedded to the draconian trappings of the National Security State. Suddenly, the world caught up with Burning Man’s parsing of the utopian and dystopian themes of technologically-assisted social capitalism, making them seem redundantly similar to the mass media narratives about a brave new cyber-economy as well as the emergence of other forms of Postart spectacle that had come into prominence in the art world. The fact that Burning Man had become the putative darling of a kind of trivializing mass-media condescension did not help, and over time the event become more-and-more indistinguishable from the “wild and crazy” caricatures that were heaped upon it. By 2007, the event had clearly become a victim of its own clichés of ﬂagrant silliness, mired in a repetitious cycle of nostalgia for the exuberant 1990s. Soon after that, that the world would pass it by, because in 2008, the story would take another turn, a downturn to be exact. The ﬁnancial crisis that exploded in October of that year once again recalibrated the larger terrain of cultural understanding, and the urgency of that moment began to make Burning Man look every bit as indulgent and frivolous as it did the institutional art world. Soon thereafter, a new concern for the politics of social justice had come into the foreground, eclipsing the themes of alternative identity and self-sustaining community-of-desire that were such prominent features of the event during its 1990s heyday. It was time to pass the metapolitical torch of the do-it-with-others ethos so that a very different ﬁre might be lit with the aid of a few well-placed Falstafﬁan pitchforks.

Returning to Badiou, we read that the ethical understanding of justice is something quite speciﬁc. It is based on the following injunction: “to examine political statements and their proscriptions, and draw from them their egalitarian kernel of universal signiﬁcation.”18

If Burning Man has done nothing else, it has certainly created an Archimedean ground from which such an examination might proceed, much more successfully than anything that happened in the institutional art world during the same time period. Following from this recognition, we might then ask how the metapolitical kernel of Burning Man was passed to Zucotti Park, as if, in an age of social media, the assertion and exertion of any inﬂuence on anything can somehow be supposed to not be operable until proven otherwise. We know that one of the key instigators of the OWS movement was Micah White, the Berkeley-based co-editor of the Vancouver-based journal Adbusters , therefore a Bay Area connection is easily made, although it is not clear if White was in any way inﬂuenced by Burning Man. Because there is a very large contingent of Burning Man participants that hail from New York City, one could easily suppose that their experience of the event might have had something to do with the encampment at Zucotti, especially since Occupy Wall Street initially took place just ten days after the conclusion of the 2011 Burning Man event. But there is one important kernel of indisputable inﬂuence that clearly stands out, and that is Bill Talen, who is better known in his performance guise of Reverend Billy of the Church of Stop Shopping, a New York-based performance group that has extensively toured the United States and is the subject of two widely circulated documentary ﬁlms. What makes Talen’s performances so timely for this discussion is his evocation of the tropes of a theocratic tribalism that are severed from the politics of hate and fear, all enacted in service to the kind of communitarianism and pleas for justice that earmarked the earliest Christian communities of the second century. Obviously, those same values are in short supply among so-called evangelical churches populated by legions of CINOs (Christians-in-Name-Only), reminding us of how deeply perverted the gospel message has become in twenty-ﬁrst century America. The fact that the more organized churches proclaiming allegiance to the gospels have been outdone on this score by a performance artist should be cause for concern, outrage and cruel mockery. Starting in 2002, the 30-member band and gospel choir of the Church of Stop Shopping has regularly performed at Burning Man, putting on a rousing revival show that is a stunningly convincing mimic of similar services consecrated to “the old time religion” a la Elmer Gantry, only at Burning Man, it was comically staged under the shadow of an 40-foot-tall efﬁgy that echos the real old old old time religion of Neolithic cult worship.

At the forefront of the Church’s performance is Talen’s character named Reverend Billy, who preaches in passionate, Elvis Presley-inﬂected voice about the evils of consumerism and the tragic human cost of debt-driven consumption, backed up by a gospel chorus and small orchestra featuring a church organ. The chorus sings songs about the virtues of an economic democracy that is described as a promised land, and the mood is always persuasively festive, even joyous.

Talen’s passionate and eloquent sermons come across like rhapsodic poems made from the many fragments of Occupy Wall Street signage, and in fact, Talen did perform (sans choir) at the 17 September 2011 beginning of OWS, just a few days after returning to New York from Burning Man. Subsequently, he performed with the choir at Zucotti Park on several other days, to audiences that grew ever larger during the month of October. These were rousing and inspirational shows that galvanized the attention of ever-growing crowds in a way that gave them a coherent group identity, meaning that, for a few brief moments, the Occupy protesters found themselves attending a church of their own politically inclusive revelation, which allowed them to see themselves as being a part of something much larger than themselves.

As always, Talen’s performances were a brilliant obversion of the pernicious role that religion has come to play in American politics, where so-called “values” candidates have been using church afﬁliation for decades as the preferred excuse for supporting candidates and policies that embody the hateful opposite of Christian morality. Such ethically duplicitous rhetoric also has a metapolitical name, and that name is Neoconservatism when practiced by Americans who identify with Judeo-Christian tradition, and fundamentalism when practiced by others. Either way, the word “fundamental” applies in all of its many nuances, especially the one that highlights its deﬁnitional opposition to enlightened sophistication. Essentially, Neoconservatism is a subtle theologicization of the neoliberal doctrine that deﬁnes the subject along the secular lines of economic self-interest, but it deviates from that doctrine in that it assumes that self-serving moral edicts are required when the economic interests of cultural Others begins to gain too quickly in relation to the economic self-interest of the culturally entitled.

Talen’s Reverend Billy performances are so entertaining and well executed that it is easy to miss the seriousness of the metapolitical critique embodied in them. Certainly, they provide a thoughtful and dramatic critique of the empathy deﬁcit disorder that is bred by neoliberal corporatism, and they command and entice their audiences to insist on ethical correctives. As for the relation of his work to his experience of Burning Man, Talen himself has a clear vision of the similarity between Burning Man and the OWS movement. He writes: Burning Man and Occupy Wall Street share this: we discovered that living together is a performance with long-range power. How we live—people watch and learn. Then they live back at us and we change too. We experience the decisions of how to live as drama, and (we found out) as protest—more than traditional theater which rarely has electrical charge these days. For years we were the butt of journalist jokes, calling us refried 60s protesters—angry people carrying signs and chanting. All that was wiped away by the glorious arrival of Occupy, which was the simple notion of living together in public, in a park under the scrapers of Wall. Sharing food, stories, making media, ﬁguring out laws, discussing health, feeding each other—LIVING TOGETHER is the devastating protest form of our day. Burning Man’s fascination—you see it around the world—ﬂows from living together under arid desert conditions for a week. BM also chucks the conventional stage and ﬁnds a new charged theater in sashaying in outrageous costumes and nakedness in front of 50,000 people who are doing the same thing back at you. Burning Man is great theater—leaves Broadway in its playa dust. And Wall Street guys are there too—wearing ﬂuorescent underwear while they check out a 100-foot-long chandelier. How change comes to the world from these two forms of theatrical living— stay tuned! It has begun.” To this I can only say Amen.

notes- *apologies for layout issues, text spaces have been modified to allow for full citation listings.

Alain Badiou,

Metapolitics

(1998), translated by Jason Barker, London: Verso Books, 2005, p. 19.

Jean Tingley, “On Statics,” (text from a leaﬂet dropped near Dusseldorf in 1959. Recorded in

The Diary of Anaïs Nin, Volume VI

, edited by Gunther Stuhlman, New York: Harcourt, Brace and Jovanovich, 1966 p. 284.

See Adam Schiff, “The Supreme Court Still Thinks That Coroporations Are People,” (July 18, 2012)

The Atlantic Monthly

; http://www.theatlantic.com/politics/archive/2012/07/the-supreme-court-still-thinks-corporations-are-people/259995/court-still-thinks-corporations-are-people/259995/

Badiou, Op. Cit., p. 5.

Ibid, pp. 5–6.

For a synopsis of Badiou’s key claims, see his

Manifesto for Philosophy

, translated by Norman Maderaz, State University of New York Press, 1999. Further references to Baudiou’s ideas are extracted from this source, unless otherwise cited.

Claims of Burning Man being a socially dangerous satanic ritual were made on the 18 May 1998 broadcast of Pat Robertson’s 700 Club program on the

Christian Broadcast Network

George Kuchar (1942–2011) and Mike Kuchar (b.1942) were San Francisco-based underground ﬁlmmakers whose low budget works used and misused exaggerated gender clichés to satirize the most preposterous aspects of conventional “sinematic” exposition. George Kuchar’s most well known ﬁlm was titled

Hold Me While I’m Naked

, 1966, while Mike Kuchar is best known for his 1966 ﬁlm titled

Sins of the Fleshapoids.

In 1997, they collaborated on a book of comic reminiscences titled

Reﬂections from a Cinematic Cesspool

(San Francisco: Zanja Press). Here we might note a persistent albeit unconﬁrmed rumor that San Francisco’s long-running stage play titled

Beach Blanket Babylon

was originally indebted in some way to the George Kuchar esthetic. In Jennifer Kroot’s 2009 documentary ﬁlm titled

It Came From Kuchar,

it was revealed that Bill Grifﬁth’s comic character named

Zippy the Pinhead

was modeled on George Kuchar.

Gesamtkunskwerk

literally means “total work of art.” It was coined by Richard Wagner to describe his view opera production as a synthesis of all of the arts. See his

The Artwork of the Future

(1849, translated by William Ashton Ellis) at http://users.belgacom.net/wagnerlibrary/prose/wagartfut.htm. “Relational Esthetics” was a term originally coined by Nicholas Bourriard in 1986 as a way of calling attention to certain artistic practices that were/ are less concerned about the creation of a ﬁnal product than they are about the social processes of inclusion and participation leading up to it. Bourriaud deﬁned the approach simply as “a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.” (p. 113). See Nicholas Bourriard,

Relational Esthetics , Dijon, France: Les Presses du Reel , 2002. For a critique of Bourriard’s thesis, see Claire Bishop, “Antagonism and Relational Aesthetics,”

October 110, Fall 2004. Bishop points out that “The curators promoting this ‘laboratory’ paradigm—including Maria Lind, Hans Ulrich Obrist, Barbara van der Linden, Hou Hanru, and Nicolas Bourriaud—have to a large extent been encouraged to adopt this curatorial modus operandi as a direct reaction to the type of art produced in the 1990s: work that is open-ended, interactive, and resistant to closure, often appearing to be ‘work-in-progress’ rather than a completed object. Such work seems to derive from a creative misreading of poststructuralist theory: rather than the interpretations of a work of art being open to continual reassessment, the work of art itself is argued to be in perpetual ﬂux. There are many problems with this idea, not least of which is the difﬁculty of discerning a work whose identity is willfully unstable. Another problem is the ease with which the ‘laboratory’ becomes marketable as a space of leisure and entertainment. Venues such as the Baltic in Gateshead, the Kunstverein Munich, and the Palais de Tokyo (in Paris) have used metaphors like ‘laboratory,’ ‘construction site,’ and ‘art factory’ to differentiate themselves from bureaucracy-encumbered collection-based museums; their dedicated project spaces create a buzz of creativity and the aura of being at the vanguard of contemporary production. One could argue that in this context, project-based works-in-progress and artists-in-residence begin to dovetail with an‘experience economy,’ the marketing strategy that seeks to replace goods and services with scripted and staged personal experiences. Yet, what the viewer is supposed to garner from such an ‘experience’ of creativity, which is essentially institutionalized studio activity, is often unclear.” (p. 52) Bishop goes on to quote Bourriard: “It seems more pressing to invent possible relations with our neighbors in the present than to bet on happier tomorrows” (p. 54;

Relational Esthetics,p. 45), Then she adds “This DIY, microtopian ethos is what Bourriaud perceives to be the core political signiﬁcance of relational aesthetics.” (p.54). It is worth noting that there has never been much difference between Bourriard’s assertion of “Relational Aesthetics” art practices and Allan Kaprow’s much older advocacy of Happenings, the ﬁrst principle of which being “the line between the Happenings and daily life should be kept as ﬂuid as possible,” so that “the reciprocation between the handmade and the ready-made will be at its maximum power.” (Allan Kaprow, “The Happenings are Dead: Long Live the Happenings!” (1966) in Jeff Kelly ed., The Blurring of Art and Life: The Collected Writings of Allan Kaprow , Berkeley: University of California Press, 1996, p. 62). The key point lies in how both Relational Esthetics and the earlier Happenings resurrect the tenants of Lukasian social realism by substituting real-time face-to-face encounters for the older tropes of representing and/or narrating ideas of “class consciousness.” More recently, similar activities have again rebranded themselves as “Social Practice Art,” as a way of emphasizing more speciﬁc political ambitions. See Nato Thompson, Living as Form: Socially Engaged Art from 1991 to 2011,

Cambridge, MA. MIT Press, 2012. But even here, the obvious equation of institutionally supported “social practice art” with inefﬁcacious postures of mild political concern (scented with the bad faith of loyal opposition) are never directly addressed. An important early instance of a Relational Esthetics artwork was San Francisco-based artist Tom Marioni’s Drinking Beer with Friends is the Highest Form of Art

, a weekly relational esthetics performance that has been ongoing since the mid-1970s. Clearly, San Francisco-based Burning Man is far and away the largest and most complex example. Neither was mentioned in Bourriard’s famous book.

10.

Paul Werner,

Museums, Inc.

, Chicago: Prickly Paradigm Press, 2005, p. 9.

11.

Ibid., p. 15.

12.

Ibid

p. 58.

13.

Ibid

p. 41.

14.

Pop Surrealism was the name of a 1998 exhibition organized by Richard Klein, Ingrid Schaffner and Dominique Nahas held at the Aldrich Museum in Ridgeﬁeld Connecticut. It contained the work of artists such as Peter Saul, Mike Kelly, Paul McCarthy, Lisa Yuskavage, Ed “Big Daddy” Roth, John Currin and Robt. Williams, and could be said to have reprised and expanded upon an earlier exhibition titled Helter

Skelter that was organized in 1992 by Paul Schimmel at the Museum of Contemporary Art in Los Angeles. The monthly publication Juxtapose (founded by Williams in 1994) has done much to promote many of the artists associated with the Pop Surrealism movement, but the publication’s claim that the movement originated in southern California is erroneous. The real historical sources of the Pop Surrealism movement is found in the earlier work of Bay Area-based artists such as Peter Saul and George Kuchar, as well as the underground comics movement that was based in the same area during the middle 1960s. Chicago artists of the early 1970s such as Jim Nutt, Gladys Nielson and Karl Wirsum were also important early inﬂuences. The most important aspect of the Pop Surrealism movement lied in its embrace of a populist turn in art that was responsive to circumstances related to the political controversies surrounding government funding for the arts. In 1998, the National Endowment for the Arts published the ﬁndings of a multi-year research project that concluded that the arts were widely perceived to be irrelevant and elitist. The project was called American Canvas

. See Gary O. Larson,

American Canvas: An Arts Legacy for Our Communities

, Washing ton D.C.: US Government Printing Ofﬁce, 1998.

15.

Okwui Enwezor, “Mega-Exhibitions and the Antinomies of a Transnational Global Form,” in Andreas Huyssen ed.,

Other Cities, Other Worlds: Urban Imaginaries in Globalizing Art

, Duke University Press, 2008, pp. 148–149.

16.

Ibid

p. 149. In an anonymous introductory remark made in the online journal

Italian Greyhound , we read that “Enwezor uses as an illustration of the serious and thoughtfully considered nature of righteous internationalists in fomenting new representations in academic programs and curated collections by pointing to a think tank he participated in 1997 in Italy whose members came from Brazil, Turkey, Cuba, Australia, South Africa, and Thailand, amid other countries. These panelists endeavored to recode the complex dialectics between globalization and the long process of modernization towards market basked-economies on the course of which much of the developing world was set since the early days of decolonization. Enwezor reports that this group drew and reached no conclusions other than to continue meeting at subsequent retreats and biennale exhibitions.” The same anonymous interlocutor also summarizes a response formulated by art critic George Baker to Enwezor’s essay that takes exception to its optimistic assessment of the equalizing nature of enormous international art fairs, arguing that “the only valid deﬁnition of globalization is one that must include an acknowledgement of the invasiveness of multinational corporations.” Baker deﬁantly asks “who and where is the audience for mega-exhibitions?” echoing Enwezor’s use of the words “spectatorship” and “spectacle.” The roving biennale, Baker says, “creates a traveling fair for global elites, excluding both artists and the local populations where such exhibits take place.” Baker dismisses Enwezor’s Trauma and Nation model concepts, claiming instead that “shows such as Documenta existed for years merely as a forum for exported American art and views of art.” Baker further argues “mega-exhibits are in fact created, like the Olympics, with the intent of deﬁning, promulgating, and delineating American culture.” Baker asks “why it is that biennials,” (which are, he says, “essentially the same showcasing of many of the same works repeated in different time zones”) “are the new model for counter-hegemonic spectatorship?” (See the summary provided at athttp://italiangreyhounds.org/errata/2007/06/13/“mega-exhibitions-and-the-antimonies-of-a-transnational-global-form”-by-okwui-enwezor-vs-“the-globalization-of-the-false-a-response-to-okwui-enwezor”-by-george-baker/)

17.

See Naomi Klein,

The Shock Doctrine: The Rise of Disaster Capitalism,

New York: Henry Holt &Co., 2007.

18.

Badiou, Op. Cit., p. 17.

19.

Bill Talen, Email correspondence with the author, 7 April 2012.

SLOW BURN245BARBARA TRAUB

SLOW BURN

BARBARA TRAUB

Monolith

, 2012

246SLOW BURN247BARBARA TRAUB

Playa Play

, 2000

Greeter Station

, 1997

Double Expusure

, 1995

248SLOW BURN249BARBARA TRAUB

Guiding Light

, 1999

250SLOW BURN251BARBARA TRAUB

Ravishing Raven

, 2000

Desert Rat

, 1997

252SLOW BURN253BARBARA TRAUB

Dust Cloud

, 1996

Tableau Vivant

, 1994

Water Woman

, 1997

Art

Using Voice Tones To Teach Improvisation For Beginner Jazz Guitar

March 24, 2016 The Silo Leave a comment

This article discusses an approach to teaching linear improvisation to beginning jazz guitarists through the function of voice leading in harmonic progressions. The guitar student may gain a clear understanding of improvising melodies by establishing clear visual and aural relationships between the chordal and melodic textures.

Three dominant 7th chord voicings are introduced and applied to a twelve bar blues progression in F major. After learning the rhythm guitar accompaniment, single note guide tones consisting of the flat 7th and 3rd chord tones of each dominant seventh chord are extracted from the chord voicings and applied in a melodic texture following chromatic voice leading principles within the harmonic progression.

Musicality within the exercises is increased by the addition of a series of rhythmic variations that are applied to the guide-tone lines. Continuing with the concept, full dominant seventh arpeggios are introduced in order to expand the available note choices as a way to build a solid foundation for improvising within harmonic progressions prior to using diatonic scales. By Daniel Andersen from the Journal: Revista de la Lista Electrónica Europea de Música en la Educación Click here to read the full article. *Picture: Jazz Guitar legend Herb Ellis

Politics

Ontario Greens Push To Ban Political Donations For Counties And Province

March 10, 2016 The Silo 4 Comments

Time to get big money out of Ontario politics

(Queen’s Park): “Political fundraising in Ontario doesn’t pass the stink test,” says GPO leader Mike Schreiner.

Schreiner is challenging the Liberal government to ban corporate and union donations to political parties in Ontario. The GPO is also pushing the government to amend the Municipal Elections Act to allow municipalities to ban such donations. The City of Toronto has done this, but other municipalities do not have provincial authority to do it.

“People are sick and tired of reading stories about big ticket events that give deep-pocketed insiders special access to Ministers and the Premier,” says Schreiner. “Serious questions about special deals are being raised. Corporate and union donations have no place in politics.”

The federal government banned corporate and union donations to political parties in 2003 and extended the ban to include donations to candidates in 2006. The new Alberta government made banning corporate and union donations their first legislative act in 2015. The GPO believes it is time for Ontario to clean up its act.

“Citizens vote, not corporations,” says Schreiner. “Government policy should be focused on what’s good for the public. Even the perception that big money might have influence in securing special deals or driving policy decisions is bad for democracy. What about the 100 companies being given a free ride under the new cap-and-trade plan? Are any of them donors to the Liberal party?”

The Green Party of Ontario supports campaign finance reforms that ban corporate and union donations, limit third party advertising and provide some public financing for eligible parties.

“It’s past time to get big money out of Ontario politics,” says Schreiner.

The GPO is on a mission to bring honesty, integrity and good public policy to Queen’s Park. For the Silo, Becky Smit

Culture

Impressive Fan Series ‘Star Trek Continues’ Is Shockingly True To Original Series

March 9, 2016 The Silo Leave a comment

Ahead At Warp Speed

The finishing touches are now being applied to the sixth episode produced by the fans behind Star Trek Continues, and we look forward to a debut screening in May at MegaCon in Orlando. This week, we’re launching another crowdfunding campaign to produce more episodes, which will bring to 10 the number of episodes in our web series. Support us here: https://www.indiegogo.com/projects/star-trek-continues#/ Episode VI — “Come Not Between the Dragons” — is an action-packed, dramatic story that deals with deeply personal issues. It guest stars Gigi Edgley of Farscape fame. And Episode VII — featuring the return of Erin Gray and other surprise guest stars — will, with the help of this campaign, be released in the fall.

Between free viewings on Vimeo and YouTube, our five finished episodes have had more than four million views! And we’re pleased to be recognized with nearly a dozen accolades and awards, and even recognition from The Wall Street Journal, which calls Star Trek Continues “the flagship of the fan film fleet.” First and foremost, Star Trek Continues respectfully and graciously thanks CBS, the holder of the copyright to Star Trek. CBS’ understanding of the passion fans have for Star Trek is second-to-none, and we’re grateful to have the opportunity to pay tribute with our fan-based non-profit web series.

We are in no way affiliated with, nor endorsed by, CBS or Paramount Pictures. This latest campaign is already off to a strong start. And it’s the third time we’ve appealed for support in this way. Late in 2013, our first effort raised enough money to produce episodes 2,3, and 4. Last January, we launched a second crowdfunding campaign to continue our journey and produce two more episodes and build the enormous Engineering set. And that’s precisely what we did. STC’s track record speaks for itself. As deeply committed stewards of our precious fans’ donations, we do what we promise we will do. So many of our previous donors tell us they can’t wait to support us again. One needs only watch an episode to see these generous donations at work. We seek no return other than the joy of paying tribute to TOS — both in the creation of these episodes, and in the privilege of sharing them with beloved fans. All money raised goes to hard costs related to the development, filming, and post-production of these stories, such as:

Set construction, maintenance and materials
Studio rental and maintenance
Monthly utilities costs
Equipment rental
Prop production and replication
Wardrobe production and maintenance
Make-up equipment and supplies
Cast and crew travel, lodging, and food during the shoots
Post-production costs, hard drives, online data storage, etc.
Fundraising costs.

So if you believe in what we’re doing and you’d like to help, now is the time to donate to keep a good thing going.And we’ve got an exciting array of perks for contributors – including a selection of screen-used costumes.

https://www.indiegogo.com/projects/star-trek-continues#/ Find STC on Instagram! We are very pleased to announce that now you can follow Star Trek Continues on Instagram! We will be posting never before seen production stills, behind the scenes photos, crew features, concept art from our designers, and more! You can find us there @trekcontinues, and also on Tumblr at stcontinues. Thank you so much for all of your support and enthusiasm. Please continue to follow, like, share, and tell your friends! https://www.instagram.com/trekcontinues/ http://stcontinues.tumblr.com/

Trek Prop Fans Relish a Visit to Stage Nine One of the ingredients that makes Star Trek Continues look authentic is attention to detail, and in particular the sets and props designed to look like they came from the soundstages in the 1960’s. The production relies on the skills of dedicated propmakers and fans who donate use of their treasures for our episodes. In December, prop collectors got a chance to tour the Enterprise – including the new Engineering Room – during a private visit to Stage Nine in southern Georgia.

Space.com staff artist Karl Tate came down from New York. His reaction to walking standing sets was typical. “I’ve been aboard the USS Enterprise. That’s all I can say. When you’re walking down that corridor, and the stage lights are lit, and all you see is Enterprise…I’m there,” Tate says. “It’s truly an achievement and I look forward to what Star Trek Continues comes up with next!” The one-day event was filled with special presentations on prop-making, and an opportunity for prop fans to show off their collections and hand-made treasures.

“Many of us have bucket lists, things we want to complete or do in this lifetime. I’ve had such a list since I was a kid. One of the items on my list, one I never thought possible, was to go back in time and see the Star Trek sets at Desilu Studios. Impossible, right? Well, after visiting the Star Trek Continues sets I was able to cross one more item off my bucket list,” explains Larry Chalkey from Virginia. “As I walked the corridors of the Enterprise, I imagined what it must have been like to be there in 1966. What it must have felt like to make the show we all love. This was truly an amazing experience and one I will always treasure.” By Vic Mignogna for The Silo.

Culture

Real Estate Bubble? Celebrities Forced To Reduce Asking Price On Homes By Millions

March 5, 2016 The Silo Leave a comment

Both Celine Dion and Puff Daddy have vastly reduced the prices on their mansion homes, featured this week at TopTenRealEstateDeals.com.

“Celine Drops Price on Florida Water Park Home” Grammy Award-winning Canadian singer Celine Dion and her manager husband, René Angélil, built their dream Florida home on Jupiter Island in 2010. The location offered the privacy the hard working couple wanted to relax with their children and friends and they designed an estate around a series of water features and outdoor sports activities that, along with pristine beachfront, took full advantage of the Florida sunshine and Atlantic Ocean breezes. But even for celebrities who seem to have achieved it all, life can throw curve balls.

For Sale -Now Reduced! Celine Dion's Florida home. — For Sale -Now Reduced! Celine Dion’s Florida home.

Though René had successfully fully recovered from a bout of throat cancer in 1999, it reoccurred in 2013 when he had surgery for another malignant throat tumor. Dion announced in 2014 that she would suspend her performances indefinitely due to her husband’s worsening health. In August of 2015, she resumed her Las Vegas residency at Caesar’s Palace, but lost René to cancer in January 2016 and her brother only two days later. The couple and their three children had made the Las Vegas bedroom community of Henderson their home while Dion was performing at Caesar’s Palace. She returned to the stage on February 23rd for the first time since René’s death and paid tribute to his memory and their life together in her first performance.

Their Bahamian-inspired Florida oceanfront estate was first put up for sale in 2013, the year that René was re-diagnosed, for $72.5 million. Over a period of time with no buyer interest, the price was cut to $62.5 million and recently reduced to $45.5 million.

Among many five-star features, the 5.5-acre beachfront property’s centerpiece is the 500,000 gallon water park highlighted by a slow-current lazy river connecting two pools, bridges and a twisting water slide. There is also another pool located beachside. The two-story, 10,000-square-foot main residence has five bedrooms with a second-level wraparound terrace with ocean views and multiple main level terraces. The luxurious master suite walk-in closet has automated carousels for quick access to shoes and clothing at the touch of a finger. The open-plan main level is light and airy in keeping with the subtropical climate. There are also two separate four-bedroom guest houses, tennis house, simulated golf range, pool house and beach house. Celine’s Jupiter neighbors include Michael Jordan and Tiger Woods, and Palm Beach is just a few miles down the road.

Now settled in Nevada at least until the end of her Caesar’s Palace residency in 2019, Celine has stepped up her effort to sell her resort estate by engaging a new brokerage and lowering the asking price. Fenton Lang Bruner & Associates in Jupiter Island holds the listing.

“Puff Daddy’s New Jersey Mansion” Whether called Puff Daddy, Puffy, P. Diddy, or his real name Sean Combs, the Grammy-winning rapper, actor and businessman is frequently in the news, whether for his recordings, his charity or his clothing line. Most recently, he has signed on as Pharrell Williams’ team adviser for season ten of “The Voice.” Listed as number one by “Forbes” as the wealthiest hip hop artist of 2015 with an estimated net worth of $735 million, Sean has reduced the price on his New Jersey mansion several times, now at $7.89 million.

For Sale- Now Reduced!- Puff Daddy's NJ home. — For Sale- Now Reduced!- Puff Daddy’s NJ home.

Combs purchased his elaborate 3.25 acre estate in Alpine in 2004 for $6 million. Built in 1999, the home has all the glamour and amenities expected in the home of one of America’s most popular celebrities. The 8,000-square-foot home has six bedrooms, six baths, foyer with double staircase and expansive formal rooms with walls of glass filling the interior with light. The basement is the activity heart of the home with its own kitchen, wet bar, home theater, an aquarium and another bedroom with full bath. There is also an indoor basketball/racquetball court and a fully equipped gym with full bath. Outside is a swimming pool with waterfall, putting green, a lighted tennis court and a six-car attached garage. Originally, Sean put the property on the market in 2011 at $13.5 million. Without a buyer, he pulled it from the market and relisted it again in 2015 at $8.5 million. Again with no buyer, he has once again dropped the price to $7.89 million. The listing agency is Sotheby’s International in Alpine, New Jersey. For the Silo, Terry Walsh.

Visit TopTenRealEstateDeals.com for more famous, spectacular and celebrity homes and real estate news.

Culture

“Good Ole Boys” Network In RV Industry Conspired To Keep Me Out

March 3, 2016 The Silo Leave a comment

Dear Silo,

For the next month, North Americans will be celebrating and honoring women and their journey throughout history. But it’s also important to look at what’s in store for the future. Right now, more than 9 million women own a business in the U.S.A. alone. It’s all part of a change in tide as women gain more power in the workplace. But this shift has not come easy.

I should know. While I earned millions in the male-dominated industry of RV sales, my climb to the top has been tough. At my first owner’s meeting, they told me to “go home and bake cookies.” Instead, I pushed forward to outsell and out-service all the competition. I decided to stay at the office and build an empire, while paying someone to bake cookies for me.

The “good ole boys” network in the RV industry conspired to keep me out. But I learned to operate in a man’s world, carving out my path to success. Like other women, I have rewritten the rules and redefined the business climate, proving that any woman can succeed in any industry, regardless of gender boundaries.

My life story reads like a bestseller, complete with plot twists and shady characters. I’m a single mother who never completed high school. Early on in my career, a trusted father-figure mentor betrayed me, and on top of that, I was stabbed 21 times and left for dead—a steady dose of stress that should have put me out of commission before my 30^{th birthday.}

While my drive and passion have helped me move forward, there were women in our history that broke down barriers for us all. Look at Lillian Vernon, the CEO of a mail-order empire. Or Debbi Fields, who went home, baked cookies, and made millions.

It was very early on in my life that was met with major hurdles, and many female entrepreneurs in American history will tell you the same. It was “sink or swim, and sinking wasn’t an option. What will keep you going is an inner drive, an inner hunger to prove to yourself and others that anything is possible. Yes, you will encounter many obstacles, but you can always find a way to move around the obstacle. And that’s the key to success.

My advice to any woman out there looking to succeed in business is to maintain your passion. . If you’re just starting out in the workforce, your mentality should be “work to LEARN,” not “work to EARN.” That way, you can get everything you need to be successful in a business of your own.

Remember that failing at one venture can help you become a millionaire, and don’t be afraid to leave your comfort zone. Becoming an unstoppable entrepreneur is all about doing things differently and finding those untapped areas of opportunity. Look at Oprah Winfrey, a media maven who constantly finds new endeavors to strengthen her brand.

Similarly, I have found ways to not only sustain, but also grow my business while my competitors are shutting their doors. Instead of solely relying on RV sales, I started to examine ancillary revenue sources, including an RV rental business, creating an in-house interior design team, and offering customized RVs for every industry, including mobile hair salons and spas, boutiques, and even chiropractor’s offices.

Right now in America, it is an amazing time for women to grow and expand professionally. We must appreciate our new opportunities, and never be afraid to find our entrepreneurial spirit. This Women’s History Month, let’s appreciate the past and charge into the future. For the Silo, Gigi Stetler -author Unstoppable! Surviving is Just the Beginning.

Vintage

UK Firm Offers Modern Tech To Heat Old Homes

March 1, 2016 The Silo Leave a comment

NOTE~ As of today’s date, 1 Pound Sterling = $1.88 CDN or $1.39 US dollars Modern Technology to Warm an Old Home by Cast Iron Radiators 4u.

Art

Words A Spoken Word Poem

February 12, 2016 The Silo Leave a comment

“Words”. Thoughtful contemporary poetry from Allen Minor.

Allen Minor is From Utica, New York and lives in Daytona Beach, Florida

@allen_minor (Twitter)

allen minor (YouTube)

allen-minor (Tumblr)

allen_minor (Instagram)

Website http://Amazon.com/author/asminor

Travel

Reenact These Famous Movie Road Trips

February 8, 2016 The Silo Leave a comment

Wildly changing oil prices are keeping us guessing on accurate fuel cost estimates so don’t forget to check the price of gasoline before you hit the road 😛
Infographic courtesy of our friends at car leasing made simple.

Culture

Ontario Certifies Six Nation Polytech- First Aboriginal School to Award Languages Degree

February 8, 2016 The Silo Leave a comment

Six Nations Polytechnic Aboriginal Institute to Offer Standalone Languages Degree Program

Ontario Helping to Expand Post-secondary Options for Indigenous Students

NEWS

February 8, 2016

Ontario is helping to improve access to culturally appropriate postsecondary education and training opportunities for Indigenous learners by making it possible for Six Nations Polytechnic, an Aboriginal Institute, to offer a standalone degree program.

For the first time, the province will make it possible for an Aboriginal Institute, an organization that is run and governed by Indigenous communities, to offer a standalone degree program. As of January 2016, students at Six Nations Polytechnic Aboriginal Institute in Ohsweken can obtain a Bachelor of Arts degree in Ogwehoweh (Cayuga and Mohawk) Languages.

This degree will help promote and protect Ogwehoweh languages and make it possible for students to complete their degree at one institution, closer to home. It also will help students build on their linguistic skills and cultural knowledge as well as expand their opportunities to participate in the labour market. This standalone degree also supports the recommendations of the Truth and Reconciliation Commission, which called for postsecondary institutions to create degree programs in Indigenous languages.

Investing in the talent and skills of First Nation, Métis, and Inuit learners is one of many steps on Ontario’s journey of healing and reconciliation with Indigenous peoples. It reflects the government’s commitment to work with Indigenous partners, creating a better future for everyone in the province.

QUOTES

“Our government has made a clear commitment to learn from the past, build on our success stories, and increase our efforts to help Indigenous learners get the education and training they need. Six Nations Polytechnic is committed to creating an Indigenous environment that is grounded in culture and community, language, research, and academic quality, and this new degree program will help improve Indigenous learners’ access to, participation in, and completion of postsecondary education and training programs in Ontario.”

— Reza Moridi, Minister of Training Colleges and Universities

“I want to thank Six Nations Polytechnic for the leadership and guidance they have provided. Today’s announcement provides a tangible illustration of Ontario’s journey along the path of reconciliation. We will continue to rely on Indigenous partners as we chart a way forward that will produce tangible results.”

— David Zimmer, Minister of Aboriginal Affairs

“Language preservation and protection are at the core values of Six Nations Polytechnic. That’s why we have always had the intention of having our Ogwehoweh Language Diploma Program become a language degree program.”

— Rebecca Jamieson, President Six Nations Polytechnic

“Congratulations to Rebecca and her entire team. They have worked tirelessly to bring about the expansion of Six Nations Polytechnic programming. Education is the cornerstone of the future successes of our local Indigenous students.”

— Dave Levac, Member of Provincial Parliament, Brant

QUICK FACTS

Aboriginal Institutes provide opportunities for students to start and complete postsecondary education credentials in a culturally appropriate and safe learning environments close to home and are completely run and governed by Indigenous communities.
The Ogwehoweh (Cayuga and Mohawk) Languages degree builds on the strong foundation of the current language diploma program offered in partnership with McMaster University.
Six Nations Polytechnic is an Aboriginal postsecondary education and training institute located in Ohsweken, a community on Six Nations of the Grand River Territory near Brantford, Ontario.
Six Nations Polytechnic applied for and was granted consent to offer a Bachelor of Arts degree in Ogwehoweh (Cayuga and Mohawk) Languages.
Ontario provides $1.5 million in annual funding through the Aboriginal Student Bursary Fund to help Indigenous learners with financial needs participate in postsecondary education and training.
In June 2015 the province committed stable funding of Indigenous postsecondary education totaling $97 million over three years, including an additional $5 million to support the sustainability of Ontario’s nine Indigenous-owned and operated postsecondary education and training institutes located throughout the province. In 2013-14, about 16,036 self-identified Indigenous learners attended college and university in Ontario, an increase of about nine per cent or 1,472 learners since 2009-10.

LEARN MORE

Aboriginal Postsecondary Education and Training Bursary

Aboriginal Institutes

Aboriginal Postsecondary Education and Training Policy Framework

Aboriginal Education Strategy

Belinda Bien, Minister’s Office, 647-823-5489

Tanya Blazina, Communications Branch, 416-325-2746

Public inquiries, 416-325-2929 or 1-800-387-5514

TTY 1-800-268-7095

ontario.ca/tcu-news

Disponible en français

Offre d’un programme indépendant menant à un diplôme à l’institut autochtone Six Nations Polytechnic

L’Ontario contribue à accroître les options d’études postsecondaires des étudiants autochtones

NOUVELLES

Le 8 février 2016

L’Ontario contribue à améliorer l’accès des apprenantes et apprenants autochtones à des possibilités de formation et à des études postsecondaires adaptées à leur culture en permettant à la Six Nations Polytechnic, un institut autochtone, d’offrir un programme d’études indépendant menant à un diplôme.

Pour la première fois, la province accepte qu’un institut autochtone offre un tel programme d’études indépendant. Les instituts autochtones sont des établissements exploités et gérés par des communautés autochtones. À compter de janvier 2016, les étudiants de la Six Nations Polytechnic peuvent recevoir un baccalauréat ès arts dans les langues ogwehoweh (cayuga et mohawk).

Ce baccalauréat contribuera à promouvoir l’usage des langues ogwehoweh et à les protéger. Il permettra également aux étudiants de faire leurs études dans un seul établissement, plus près de chez eux. Ils pourront approfondir leurs compétences linguistiques et leurs connaissances culturelles, en s’ouvrant à davantage de possibilités d’intégrer le marché du travail. En outre, l’offre de ce programme indépendant menant à un diplôme répond à la recommandation de la Commission de vérité et réconciliation voulant que les établissements d’enseignement postsecondaire créent des programmes d’études en langues autochtones.

Investir dans le talent et les compétences des apprenantes et apprenants métis, inuits et des Premières Nations constitue l’une des nombreuses étapes que l’Ontario devra franchir tout au long du processus de guérison et de réconciliation. Cela reflète aussi l’engagement du gouvernement à collaborer avec ses partenaires autochtones et à bâtir un avenir meilleur pour tous les habitants de la province.

CITATIONS

« Il est indéniable que le gouvernement s’est engagé à tirer des leçons du passé, à amplifier ses réussites et à redoubler d’efforts pour aider les apprenants autochtones à entreprendre les études et la formation dont ils ont besoin. La Six Nations Polytechnic s’engage à créer un environnement propice à l’apprentissage des autochtones dont les fondements sont la culture, la communauté, la langue, la recherche et la qualité des programmes. Ce nouveau baccalauréat améliorera l’accès à l’éducation postsecondaire des apprenants autochtones en Ontario et contribuera à l’accroissement du nombre d’étudiants autochtones détenteurs d’accréditations ou de diplômes. »

— Reza Moridi, ministre de la Formation et des Collèges et Universités

« Je souhaite remercier la Six Nations Polytechnic pour le leadership dont elle a fait preuve et pour l’orientation qu’elle a su donner. L’annonce d’aujourd’hui illustre parfaitement le processus de réconciliation entrepris par l’Ontario et nous continuerons de collaborer avec nos partenaires autochtones en vue d’arriver à des résultats concrets. »

— David Zimmer, ministre des Affaires autochtones

« La préservation des langues autochtones est au cœur des valeurs de la Six Nations Polytechnic. C’est d’ailleurs pourquoi nous voulions depuis longtemps que notre programme en langues Ogwehoweh mène à un grade universitaire. »

— Rebecca Jamieson, rectrice, Six Nations Polytechnic

« Toutes mes félicitations à Rebecca Jamieson et à son équipe. En effet, la diversification des programmes offerts à la Six Nations Polytechnic est un travail de longue haleine. Nous savons que l’éducation est la pierre angulaire sur laquelle repose le succès des étudiants autochtones de la région. »

— Dave Levac, député provincial de Brant

FAITS EN BREF

Grâce aux instituts autochtones, les étudiants peuvent commencer et terminer leur éducation postsecondaire dans un milieu d’apprentissage près de chez eux qui est à la fois sécuritaire et culturellement adapté. Les instituts autochtones sont exploités et gérés par des communautés autochtones.
Le programme d’études en langues ogwehoweh (cayuga et mohawk) a comme base solide le programme de langues qui est actuellement offert en partenariat avec l’Université McMaster.
La Six Nations Polytechnic est un institut d’enseignement postsecondaire et de formation autochtone situé à Ohsweken, dans le territoire des Six Nations de la rivière Grand, près de Brantford, en Ontario.
La Six Nations Polytechnic a reçu l’autorisation d’offrir un programme de baccalauréat ès arts en langues ogwehoweh (cayuga et mohawk).
L’Ontario octroie 1,5 million de dollars par an par l’entremise du Fonds des bourses pour les étudiantes et étudiants autochtones. Ce fonds aide les apprenants autochtones ayant des besoins financiers à accéder à la formation ou aux études postsecondaires.
En juin 2015, la province a pris l’engagement de fournir un financement stable de 97 millions de dollars sur trois ans pour appuyer l’éducation postsecondaire des Autochtones. Cet investissement comprend un financement supplémentaire de 5 millions de dollars consacrés à la viabilité des neuf instituts d’enseignement et de formation postsecondaires de l’Ontario exploités et gérés par des communautés autochtones. En 2013‑2014, environ 16 036 apprenants auto-identifiés comme Autochtones ont fréquenté un collège ou une université en Ontario, ce qui représente une augmentation d’environ 9 %, ou de 1 472 personnes, depuis 2009‑2010.

POUR EN SAVOIR DAVANTAGE

Bourses pour l’éducation postsecondaire et la formation autochtones

Établissements autochtones

Cadre d’élaboration des politiques en matière d’éducation postsecondaire et de formation autochtones

Stratégie d’éducation autochtone

Politics

Greens: Ontario Has Forgotten Many Residents In Radiation Pill Mail-Out

February 6, 2016 The Silo Leave a comment

Arbitrary boundaries put Whitby–Oshawa residents at higher risk from nuclear radiation accident

(Whitby-Oshawa): “Does the Liberal government care about the safety of my neighbours in Whitby-Oshawa?” asks GPO candidate Stacey Leadbetter.

“So many residents of our community have been left out of the government’s mailing of potassium iodine (KI) pills. These pills protect us from thyroid cancer if there is a radiation leak – we need to make sure that everyone at risk will have them.”

The GPO is calling on the government to extend the pre-distribution zone to residents living within 30-50 km of the Pickering, Darlington and Bruce nuclear generating stations.

Governments in Europe like Switzerland pre-distribute KI pills to residents living within a 50 km radius of a nuclear facility. New Brunswick pre-distributes KI pills in a 20 km radius. In Ontario, only those residents living within a 10 km radius of nuclear stations receive them.

On November 4 2015, the Regional Council of Durham passed a motion asking the province to consider the feasibility of extending the 10 km primary zone for nuclear emergency planning.

“Will Kathleen Wynne step up, listen to science and protect the residents of Whitby-Oshawa at risk from a nuclear radiation leak?” asks Mike Schreiner, GPO leader.

“People’s safety is too important to make this stuff up on the fly,” adds Schreiner. “We desperately need an evidence based, public review of nuclear emergency plans. This is especially important when determining the radius of the primary zone and the pre-distribution of KI pills.” For the Silo, Becky Smit.

Supplemental- Oshawa-Whitby Support for Nuclear Refurbishment

Gaming

Bandai Namco & Behaviour releasing WARHAMMER 40K on New Gen Systems

January 27, 2016 The Silo Leave a comment

Lyon, FRANCE – January, 2015 – BANDAI NAMCO Entertainment Europe and Canadian developer Behaviour announced today that Warhammer 40,000: Eternal Crusade will be available for PlayStation®4, Xbox One and PC starting summer 2016. For the first time, Warhammer 40,000 fans will join their favorite factions in the fiercest and most authentic Warhammer 40,000 battles ever realized in a massive online shooter.

Based on the multimillion-selling and extensive universe of Warhammer 40,000, Eternal Crusade will take gamers into a vicious battle between four factions of the 41st millennium in order to control a persistent world at war. Whether it is PvP (Player versus Player) or PvE (Player versus Environment) squads will have to work together and engage in massive battles and exterminate the other factions! To do so; fans can choose from twenty different sub-factions, earn hundreds of weapons, customization options and accessories drawn from 29 years of Warhammer 40,000 lore to create their perfect warriors!

“It’s an honor to work on a Warhammer 40,000 game that’s already getting great community feedback on our pre-alpha. We can’t wait to share what we’ve built with a wider audience.” – Stephen Mulrooney, SVP Behaviour Digital

“We are delighted to start a new kind of collaboration with Behaviour Interactive. Thanks to our prevailing distribution network and structure, customers from almost 100 countries will have access to Warhammer 40,000: Eternal Crusade! Last but not least; our team here at BANDAI NAMCO Entertainment Europe is excited to work on the legendary Warhammer license.” Alberto Gonzalez Lorca, Vice-President of 3^rd Parties and Southern Europe.

“We are really happy to have BANDAI NAMCO Entertainment on board as a partner to complement our collaboration with Games Workshop.” Rémi Racine, founder and CEO, Behaviour

Warhammer 40,000: Eternal Crusade will be available for PlayStation®4, Xbox One and PC Digital starting summer 2016.

For more information:

Official website: www.eternalcrusade.com
BANDAI NAMCO Entertainment Europe official website: www.bandainamcoent.eu
Behaviour official website: https://www.bhvr.com
Games Workshop official licensing website: licensing.games-workshop.com
Email- [email protected]

“PlayStation” is a registered trademark of Sony Computer Entertainment Inc. All other trademarks are property of their respective owners.

Warhammer 40,000: Eternal Crusade © Copyright Games Workshop Limited 2016. Eternal Crusade, the Eternal Crusade logo, GW, Games Workshop, Space Marine, 40K, Warhammer, Warhammer 40,000, 40,000, the ‘Aquila’ Double-headed Eagle logo, and all associated logos, illustrations, images, names, creatures, races, vehicles, locations, weapons, characters, and the distinctive likeness thereof, are either ® or TM, and/or © Games Workshop Limited, variably registered around the world, and used under license. All rights reserved.

About BANDAI NAMCO Entertainment Europe S.A.S.

BANDAI NAMCO Entertainment Europe S.A.S., part of BANDAI NAMCO Holdings Inc., is a leading global publisher and developer of interactive content for platforms including all major video game consoles and PC, with marketing and sales operations in 50 countries across Europe, the Middle East, Africa and Australasia. The company is known for creating and publishing many of the industry’s top video game franchises, including PAC-MAN™, Tekken™, SOULCALIBUR™, NARUTO™, NARUTO SHIPPUDEN™, Dragon Ball®, GALAGA™, RIDGE RACER™ and ACE COMBAT™.

About Behaviour:

Founded in 1992, Behaviour Interactive is Canada’s largest independent game developer, employing 325 talented people in Montreal (Quebec) and Santiago (Chile). The studio’s objective is to deliver high-quality and commercially successful games, while staying on the cutting-edge of the industry trends in the digital markets, and exploring fresh ideas and connected experiences to keep players entertained. Our studios work with the industry’s top publishers and licensors, including Activision Blizzard, Bethesda, Cloud Imperium, Disney, Dreamworks, EA, Games Workshop, Majesco, Microsoft, Nickelodeon, Paramount, Pixar, Sony, Starbreeze, Ubisoft and Warner. For more information, please visit: bhvr.com. Eternal Crusade is produced by Behaviour Digital. Behaviour Digital Inc. is a subsidiary of Behaviour Interactive Inc whose mission is to “Create remarkable games we would play, our way.”

About Games Workshop:

Games Workshop® Group PLC (LSE:GAW.L) is based in Nottingham, UK. Games Workshop designs, manufactures, retails, and distributes its range of Warhammer® and Warhammer® 40,000® games, miniature soldiers, novels and model kits through more than 400 of its own Hobby centres, the Internet and independent retail channels in more than 50 countries worldwide. More information about Games Workshop can be found at www.games-workshop.com and further details about all of Games Workshop’s licensees and their products are at licensing.games-workshop.com

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“PlayStation” is a registered trademark of Sony Computer Entertainment Inc. All other trademarks are property of their respective owners.

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